Lena Rivera
Italian Renaissance art, which emerged in the late 14th century, was heavily influenced by classical Greco-Roman traditions and a revival of classical learning. Artists sought to capture the beauty and mystery of the natural world, and the human experience, with a focus on individualism and humanism. This is reflected in the shift towards portraiture, which became common in the 15th century, and the incorporation of Classical themes in their works. Artists during this period, such as Giotto, Masaccio, and Michelangelo, wandered throughout Italy, disseminating artistic and philosophical ideas. They were influenced by the natural world, and their works demonstrated advances in the realistic representation of the human body, solidity of form, and naturalism of face and gesture. These artists inspired subsequent painters, such as Raphael, to explore new ways of depicting the human form and incorporating innovative techniques like extreme foreshortening. The wealthy merchant families of Florence, notably the Medici, also played a significant role in influencing and patronizing Renaissance art, setting a new standard for artistic patronage.
| Characteristics | Values |
|---|---|
| Naturalism | A trend towards naturalism in the depiction of the human body, face, and gesture |
| Emphasis on the beauty and mystery of the natural world | |
| Portraiture | Became common in the 15th century, initially formalised profile portraits, then three-quarter face, bust-length portraits |
| Became a major subject for High Renaissance painters | |
| Classical themes | Artists turned to Classical themes to fulfill commissions for wealthy patrons |
| Classical themes were also seen as allegorical material for civic commissions | |
| Oil paints | Antonello da Messina began using oil paints for portraits and religious paintings in Naples, possibly about 1450 |
| Oil paints were used to create jewel-like colours and a glossy surface | |
| Humanism | Interest in humanism and individualism was already present in the late medieval period and became dominant in 15th-century Italy |
| Artists sought to capture the experience of the individual | |
| Perspective | Artists were concerned with the treatment of perspective and light |
| Artists used techniques of lighting, linear and atmospheric perspective, anatomy, foreshortening, and characterisation | |
| Self-portraiture | The rising status of the artist as a creative genius was reflected in self-portraiture |
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What You'll Learn
Oil paints and oil glazes
The use of oil paints in the Italian Renaissance is believed to have been influenced by Northern European art, particularly the Flemish master Jan van Eyck, who is often credited with creating the first oil paintings in the early 1400s. Van Eyck discovered that linseed and walnut oils dried faster than other oils, addressing the challenges posed by the sun-drying process, which often resulted in cracking or blistering.
The knowledge of oil painting techniques gradually spread to Italy in the late 1400s, with artists such as Antonello da Messina in Naples adopting oil paints for portraits and religious paintings. Antonello's work influenced Giovanni Bellini, a major artist in Venice, who adapted the Flemish oil painting technique to create the colourful and atmospheric characteristics associated with Venetian Renaissance art. Bellini's innovative use of translucent layers of colour, fine brushes, and opaque colours to pick out small details inspired artists such as Titian, who embraced the tactile qualities of oil paints and used them to reflect his artistic personality.
The versatility of oil paints allowed artists to create subtle tones and model the flesh and form of the human figure with unprecedented precision. This is evident in the works of Leonardo da Vinci, who exploited the qualities of oil paints to capture the finest naturalistic details, such as in his renowned painting, the "Mona Lisa". The use of canvas as a support for oil paints, particularly in Venice, further enhanced the transportability of larger compositions.
Oil glazes played a significant role in the early Renaissance, with artists like Jan van Eyck and his brother Hubert utilising dark colours as a base and finishing their works with richly coloured, transparent glazes. This technique added depth and luminosity to the paintings, enhancing the overall visual impact.
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Humanism and individualism
Humanism, which originated in Florence, the thriving centre of urban commerce, emphasised the importance of the individual and their capacity for self-determination. This philosophy freed artists from the influence of the clergy, allowing them to explore secular subjects beyond the traditional Christian doctrine that dominated the Early Renaissance. Artists began to incorporate themes from Classical mythology, reflecting the personal interests of their patrons and collectors, who considered the study of Classical literature an honourable pursuit.
The humanist focus on the individual and the belief in the inherent value and significance of each person encouraged artists to create more personalised paintings. Portraiture emerged as a significant genre, with artists drawing inspiration from Roman and Greek sculptures. The Romans, for instance, embraced the humanist ideal of 'verism' or 'warts-and-all' realism, celebrating the furrowed brow or wrinkled skin as humanistic features of distinction, indicative of experience and wisdom.
Renaissance artists also explored new techniques to capture the intricacies of human form and emotion. The use of 'egg tempera', a paint made from ground-up eggshells, allowed for highly detailed works with a high level of realism. Artists like Leonardo da Vinci pioneered theories of proportion, believing that every individual had a unique set of ideal proportions that artists should strive to capture. This pursuit of realism led to the development of linear perspective, which created depth and distance on a flat surface.
The emphasis on individualism also extended to the artists themselves, who were now seen as inspired geniuses. Artists like Dürer, who travelled to Italy and was influenced by Renaissance Humanism, played a pivotal role in the development of Northern Humanism. Through his synthesis of classical models with cultural beliefs, he embodied the ideal of the "Renaissance man", excelling in multiple disciplines and pioneering new ideas.
Overall, the Italian Renaissance witnessed a profound interplay between humanism and individualism, shaping artistic trends and techniques that continue to influence art even today.
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Perspective and lighting
Renaissance painters sought to move away from the flatness of Gothic paintings and strove for greater naturalism. Florentine painting was transformed in the early 15th century when the architect Filippo Brunelleschi formalised the use of perspective, which was then adopted by painters. Brunelleschi's technique involved lines converging at a single fixed point in the distance, creating a convincing depiction of spatial depth on a two-dimensional surface.
One of the first painters to incorporate Brunelleschi's discovery into art was Masaccio, who demonstrated an understanding of anatomy, foreshortening, linear perspective, light, and the study of drapery. His frescoes in the Brancacci Chapel use a strong contrast between light and dark to convey a three-dimensional quality to the work. The vanishing point of the perspectival system falls near Christ's head, highlighting his importance.
Piero della Francesca also demonstrated his mastery over linear perspective and the science of light in paintings such as The Flagellation of Christ. He studied light and perspective from a scientific point of view and wrote treatises about his findings. Another artist who focused on the study of light and shadow was Antonello, who passed on his techniques of using oil paints and the gradation of light to Venetian painters during his visit to Venice in 1475. His most famous work, St. Jerome in His Study, demonstrates his superior ability to handle linear perspective and light.
Leonardo da Vinci also displayed a theatrical use of atmospheric perspective in his paintings, such as his view of the mountains around Lago di Garda. He studied optics, shadow, and light, creating a sense of movement in his works. In The Last Supper, Leonardo used orthogonals to create a sense of depth, and the lighting of the scene aligns with the actual lighting in the chapel.
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Classical themes
During the Italian Renaissance, artists increasingly turned to Classical themes, particularly to fulfil commissions for the decoration of the homes of wealthy patrons. Classical themes were also seen as providing suitable allegorical material for civic commissions.
The most famous artist of the proto-Renaissance, Giotto, revealed a new pictorial style that depended on clear, simple structure and great psychological penetration. His works laid the groundwork for the Renaissance, with his observation of naturalistic perspective and his advances in the technique of representing the human body realistically.
The proto-Renaissance was followed by the Early Renaissance, which began in 1425 with the painter Masaccio, who was the painterly descendant of Giotto. Masaccio furthered the trend towards solidity of form and naturalism of face and gesture that Giotto had begun a century earlier. He is best known for the fresco cycle that he began in the Brancacci Chapel with the older artist Masolino, which had a profound influence on later painters, including Michelangelo.
During the 15th century, portraiture became common, initially in the form of formalised profile portraits, but increasingly as three-quarter face, bust-length portraits. Portraiture was to become a major subject for High Renaissance painters such as Raphael and Titian. Raphael, for example, based the figure of Aristotle on Leonardo, the figure of Heraclitus on Michelangelo, and included a self-portrait of himself looking out at the viewer from the far right.
The best-known example of Classical themes in Italian Renaissance painting is Botticelli's Birth of Venus, which was commissioned for the decoration of the Medici home. Botticelli's work had a direct influence on Albrecht Dürer and Martin Schongauer, and through the latter's engravings, countless artists.
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Portraiture
During the Renaissance, portrait artists moved away from flat, symbolic pictures and embraced more realistic representations. They utilised new techniques, such as linear and atmospheric perspective, to create depth and texture, making their subjects appear more alive. Artists also incorporated domestic interiors and landscape views, either through windows or as expansive backdrops, to suggest the subject's environment and provide clues about their life and interests. This trend towards including places in portraits coincided with a similar movement in religious paintings, where landscape imagery became increasingly prominent.
The desire to preserve one's image for posterity, as well as the patronage system, fuelled the popularity of portraiture. Wealthy patrons, including rulers and the wealthy, commissioned portraits to display their importance, ensure their legacy, and even for commemorative purposes, hoping that later visitors would pray for their souls. Artists often included symbols and objects that represented a person's identity or profession, further enhancing the personal nature of these portraits.
Renaissance artists built upon each other's innovations, with influences flowing between masters and their pupils. For example, Raphael incorporated the influences of Leonardo and Michelangelo in his works, and his School of Athens brought together representatives of different schools of thought. Titian, the most sought-after portraitist of his time, elevated portraiture to the same level of esteem as narrative painting, with his works known for their rich colours and dynamic movements.
The Renaissance period saw incredible advancements in portraiture, with artists experimenting with new techniques and exploring the potential of different media, such as oil paint, to create lasting innovations in style, technique, and subject matter that would leave an enduring impact on the art world.
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