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Renaissance art is the period of European Renaissance painting, architecture, and decoration that emerged in Italy in the 1400s, with a distinct style of philosophy, literature, music, and science. Renaissance painting, which is considered to be the center of classical art/classical civilization, draws on the textural pictorial foundations of the talismanic period but is associated with contemporary architectural development and epistemology in Northern Europe. During this period, Italian artists created some of the most beautiful and impressive works of art that continue to inspire and amaze people today.
Europe rose from the Middle Ages to the Early Modern Ages through Renaissance art.
Italian Renaissance art is considered one of the most influential art movements in history. It was a period of great cultural and artistic growth that saw the revival of classical art and the development of new techniques, styles, and methods. The Renaissance was marked by a renewed interest in humanism, science, and philosophy, which influenced the art created during this period.
One of the best features of Renaissance art is its use of perspective and realism. This feature was used to highlight many more techniques like chiaroscuro and sfumato. Another characteristic of Renaissance art is the use of classical motifs and subjects. Renaissance artists drew inspiration from the art of ancient Greece and Rome, incorporating themes such as mythology and history into their work to draw inspiration from history beyond. They also explored the human form by creating vivid images of the human body that were both realistic and idealized.
Top 5 Artists of the Italian Renaissance:
Donatello (1386-1466)
Sculptor: One of the major sculptors of the Italian Renaissance, Donatello was a master of both marble and bronze and had an extensive knowledge of ancient sculpture. Donatello also developed his own style of relief known as schiacciato (“flattened out”). This technique uses light and shadow to create extremely shallow carvings and full-figure scenes.
By 1423, Donatello had mastered the art of bronze statuary. Around 1430, he was commissioned to create a bronze statue of David, although his patronage may be up for debate. David is the first large-scale, free-standing nude statue of the Renaissance.
In 1443, Donatello went to Padua to commission a bronze equestrian statue of Erasmo da Narni, a famous, recently deceased Venetian soldier. The strong style of dress and pieces will be influenced by equestrian monuments coming from centuries.
Upon his return to Florence, Donatello discovered that a new generation of sculptors was in tune with the Florentine art scene with exquisite marble works. His heroic style attracted his home city, but he still received commissions from outside Florence, and he remained fairly productive until he died aged about eighty.
Although scholars know well about Donatello’s life and career, his character is difficult to assess. He never married, but he had many friends in the arts. He did not receive a formal higher education, but he acquired considerable knowledge of ancient sculpture. At a time when an artist’s work was controlled by guilds, he was keen to demand a certain amount of freedom of interpretation. Donatello was inspired by ancient art, and many of his works incorporated the spirit of classical Greece and Rome; but he was spiritual and inventive, and his art saw few rivals at one level.
Carlo Crivelli (1430-1495)
Although trained in the late Gothic style of Antonio Vivarini, as his early works show, and familiar with the drawings of Jacopo Bellini, from which some of his mature works derive, Crivelli was deeply influenced by early Renaissance art in Padua. There he studied the works of Donatello, Fra Filippo Lippi, and the young Andrea Mantegna. He probably attended the workshop of Francesco Sciarcione, also known as Schiavone, who arrived in 1456 and returned to Zara around 1461, during his apprenticeship with the Dalmatian painter Giorgio Ciulinovich. Since Crivelli worked with Schiavone, it is assumed that the two young painters are similar. He moved to Padua and followed him to Zara, where Crivelli was a resident and citizen by 1465.
By 1468, when he signed and dated an altarpiece at Massa Fermana, Crivelli had moved to the Marches, where an economic revival was attracting trans-Adriatic immigration. After first living in Fermo, he became a resident of Ascoli Piceno by 1478. Crivelli flourished in this provincial area, where his adherence to the elaborately compartmentalized polyptych and his mastery of mood and gold leaf appealed to the conservative tastes of his patrons, and where he was able to develop unique interpretations of Gothic and Renaissance themes without competing with the new Venetian style of Giovanni Bellini. Crivelli may have moved to Ferrara around 1470, but from the mid-1470s, when his style matured, into the 1480s, he resisted outside influence. In his later works, however, he drew inspiration from the altarpieces painted for Giovanni Bellini in Pesaro in the 1470s and took a unified place in the new Renaissance type of altarpiece. The expressive pictorial style and bright, rich colors that distinguish Crivelli’s art are remarkably consistent. His success spawned local imitators, including his brother Vittore, who was active in Fermo from 1481. Carlo was eventually knighted by Prince Ferdinand of Capua in 1490.
