Humanism and the Renaissance Essay

Founded on the ideals of Italian scholar and poet Francesco Petrarca during the late fourteenth century, spiritual rebirth humanism centered itself on humanitys potential for attainment. Although beau ideal is credited for creating the universe, human beings are the whizs credited for developing and sustaining it. The shift was out from understanding the domain through faith and towards a broader intellectual and scientific understanding of it. A humanist, in this context, was simply a teacher whose curriculum focused on the liberal nontextual matters.By the mid-fifteenth century, this curriculum evolved to include rhetoric, grammar, poetry, bill and moral philosophy (or ethics). Together these individual disciplines comprised the core of humanistic studies. just the ideas introduced were not altogether new. Humanists relied on primary sources such as the neo splitical literature of Greece and Rome. What is remarkable, however, are the great lengths to which the movement sought to recover and re-introduce old ideas to the present times.It is remarkable when considering that after the fall of Rome in the fifth century much of the texts housing ideas central to humanistic position were virtually bewildered or buried in obscurity. Ancient ideas deep d ingest these classical texts were considered crucial because humanists considered the ancient world the pinnacle of human achievement and thought its human accomplishments should serve as the model for contemporary Europe. afterwards the fall of Rome, human progress and achievement slowed to a trickle.Western polish became mired in a period of cultural decline that the reincarnation mind considered a dark age in human history. The hardly way out was a return to the ideas propelling the ancient world forward. It was, in essence, a trip back to the future. Humanism profoundly change the artistic community and how artists themselves were perceived. The medieval mind viewed artists as humble servants whose endowment and ability were meant to honor God. This is evident in the black market of medieval artists adorning churches and cathedrals. rebirth artists, in contrast, were trained intellectuals well versed in the classics and mathematical principles. And the art that they created reflected this newfound perspective. The Renaissance also gave birth to a new class in the social order the merchant class which closely resembles what we straightaway refer to as the middle class. And this merchant class had the means to fit out an artists services. This dramatically expand the sources of funding (i. e. financial support) as well as the themes an artist could consider.No longer was patronage a luxury solo the aristocracy could afford. And no longer were commissions relegated primarily to unearthly considerations. Enlightened citizens with the means to afford it considered artistic patronage an important activity. And with expanded participation, new kinds of art were introdu ced into the Renaissance landscape. Aristocratic patrons often commissioned portraits. just much of the art commissioned at the time was at the patronage of the merchant class.This art was primarily secular in nature including mythological subject matter and adorned the halls and rooms of town homes and country villas. Citizens such as Cosimo de Medici were civic minded and back up notable worthwhile causes. De Medici supported libraries, for example. He also had a fondness for the work of the artist Donatello and an bear on in merging Platos ideals with Christian philosophy in an crusade to demonstrate how lifes spiritual aspects can overcome physiologic limitations (leading to a revival of Neo-Platonism).Cosimos grandson Lorenzo the Magnificent was an avid art accumulator and benefactor to a young Michelangelo. This underscored the benefit of associating intellectual pursuits with the resources to pursue them. It strike down a wide social net along with establishing a easy market place for creativity. One work of art that embodies the ideal of the earlyish Italian Renaissance is Donatellos Penitent Magdalene. The work was commissioned amid the late 1430s and 1450s. It is a life-size polychromed wood mould.The contrapposto positioning (one leg way weight with the other relaxed) is a reference to classic Greek style. The work presents Mary Magdalene as a sympathetic figure who has paid her dues in life. It is an emotionally moving piece. Once a prostitute, Mary evolved to become one of Jesus Christs most devout followers and trust confidants. She was the first person to whom Jesus appeared after the Crucifixion. Afterwards, however, she lived her life in perpetual penance and self-im bunkd suffering to atone for the sins in life she committed.The sculpture presents Mary as old and frail with few hints of her long lost and forgotten beauty. What does remain to remind us that this was once a watertight and beautiful presence to behold is a r efined bone structure, the contrapposto pose and long hair. But the trembling hands raised as if in prayer and tattered dress convey that this woman has suffered long enough. She is merit of forgiveness and compassion. This is the work of an artist well versed not only in the spiritual origin of this womans story, but our own sense of humanity and what we may aspire to.