ART RENAIS

Question 1

The invention of the printing press by Gutenberg in ? provided the prime material for which humanism was founded, and print became the natural medium through which the intellectual movement was transmitted across Europe

Answer 1

1439

Question 2

The printing shops of major European towns such as???functioned as centres for the diffusion of humanism

Answer 2

Cologne (1466), Rome (1467), Venice (1469), Paris (1470), Kraków (1473) and London (1477)

Question 3

by 1500 ? printing presses were in operation in Western Europe, ‘having produced eight million books’

Answer 3

1k

Question 4

which 2 were the main centres of printing

Answer 4

Germany and Italy

‘social variety’ of collaborators

Question 5

Between 1500 and 1600 ? mil copies of ? different editions circulated Europe

Answer 5

150-200 million copies of 200,000 different editions circulated Europe
/3 of these texts were either Latin or Greek or works by humanists, overriding religious texts which comprised only 27%

Question 6

the ownership of books expanded beyond churchmen and lawyers to merchants, tradesmen and artisans, and thus the books available and in France 66/? libraries were owned by haberdashers, weavers and drapers

Answer 6

377

Question 7

In the final years of the 15th century, Aldus Manutius published numerous editions of Greek and Latin authors in a small and

Answer 7

‘easily managed format’ . He produced pocket-sized and inexpensive books of works by Xenophon, Euripides, Home, Aesop, Virgil, Erasmus, Horace, Pindar, and Plato, thus reviving ancient texts themselves in an accessible format for readers outside of the intellectual sphere

Question 8

Jouenneaux and Bade’s edition of Terence’s comedies were reissued

Answer 8

31 times in the twenty-five years after publication at Lyons in 1493, and the different works of Virgil were printed 161 times in the 15th century, and 263 in the 16th century (along with innumerable translations).

Question 9

Slowly all the major Latin literatures became generally available across Europe as exemplified by the mass publications of classical texts – even the scarcely published works of Tacitus before 1500 saw

Answer 9

24 editions in the first quarter of the century

Question 10

printing delivery faster than manuscript which could take

Answer 10

a month to transfer between two cities in the same country – ’30 days from Hamburg to Augsburg’

Question 11

Consequently Europe witnessed swift and primitive progress in Greek, adopting elegant Greek founts which were used in Cardinal Ximenes version of the

Answer 11

New Testament and Bible in 1517
humanism that throve within piety, and encouraged the larger publishers in Cologne, Nuremberg, Augsburg and Leipzig to undertake publications of Greek texts

Question 12

important development that gained royal appreciation, reaching its apogee in 1550 when Francis I had

Answer 12

Grecs du Roi cut in Greek as he encouraged the study of Greek in Paris. This was used by Estienne and many other Paris printers, as well as in Strasbourg; the knowledge of Greek became a ‘craze’ outside of Italy
Greek was maintained more rigidly in the intellectual spheres: in Oxford and Lorraine (1517), Alcalá (1528), Paris (1529) and several German towns Greek was taught officially by the universities. Humanism had infiltrated religious, royal, and the highest intellectual spheres through printing

Question 13

printed translations of classical authors into vernacular languages through printing was an important stage in the diffusion of humanism in Western Europe - esp in ? and ?

Answer 13

France and England – in the first half of the century, Europe witnessed 43 editions of classical texts in English translation, rising rapidly to 119 in the second half of the century
Virgil was tirelessly translated in the 16th century, boasting 263 Latin editions accompanied by 72 Italian translations – a vast increase from the 6 that existed in the 15th century
Tyndale’s English translation of the New Testament - Worms in 1526 when he had an edition printed in 1526 in 3,000 copies

Question 14

By the 16th century, the printed book had been ‘produced

Answer 14

in sufficient quantities to make it accessible to anyone who could read’
Francis Bacon argued that printing ‘changed the appearance and state of the whole world’

Question 15

The Renaissance is characterised by its innovations in visual and material culture, yet it was by no means a

Answer 15

unified movement in early modern Europe

The Renaissance was most coherent as a cultural and artistic movement in Italy and in the world of Christianity

Question 16

Two phenomena were central to the Renaissance inspired from Italy

Answer 16

1. the new interest in classical Latin and Greek associated with humanism
2. the dramatic change in visual arts as a process of rebirth and development ‘to a level unsurpassed by even the ancients’ The Cambridge Companion to Renaissance Humanism, J. KRAYE

Question 17

Architectural developments in ? can be recognised as a broadly coherent – if not matchless – example of the Renaissance as a successful cultural and artistic movement, yet once again characterised by an association with the Church, of whom the benefactors were religious peoples or patrons

Answer 17

italy

Question 18

patronal domination sees parallels in the development of ? in early modern europe

Answer 18

music

Question 19

perhaps the excitement of the moral, intellectual and aesthetic purposes of the Renaissance that is most coherent in the artistic and cultural developments, and lesser the physical

Answer 19

‘rebirth’ of the structures of ancient civilization that began to transform the cultural world of early modern Europe – but it was by no means a logical or consistent movement.

Question 20

Between 1380 and 1440 the cultural world of Florence was vastly transformed by a growing group of

Answer 20

patricians devoted to ‘recovering’ the ancient world
In Italy according to Hay ‘there was hardly a building which stood in 1400 that was not draped, if not rebuilt, in the new manner’
Italian Churches in which the movement was founded by Brunelleschi, inspiring the new realistic and ‘classical style’ first observed in his Pazzi Chapel at St Croce

Question 21

Princely patrons started to invest in classical styles, as well as patricians and oligarchs, and new ‘palaces’ rather than

Answer 21

town houses of magnificence’ erected, such as the Palazzo Schifanoia in Ferrera and the Gonzaga stronghold in Mantua

Question 22

Florence was the chief renovator of the classical style, reflected in Florentine government by the appointment of

Answer 22

humanist Salutati in 1375 who promoted his interest in the literature and life of classical antiquity

Question 23

Classical influences were also mediated through the Italian Renaissance abound in the ? style

Answer 23

Baroque style of building (as well as painting and sculpture) that spread from Italy into Northern Europe in the late 16th and early 17th centuries, experiencing a consistency in the borrowing of neoclassical details

Question 24

Florence the architectural movement gained religious attention, as Pope ?reconstructed the church (and elevated it to the status of cathedral) into a ‘sober and serene palace’ complete with a classical garden

Answer 24

Pius II

Question 25

Florentine architecture attracted secular appeal - in 1446, atheist lord of Rimini (Pope Pius’s arch enemy), Sigismondo Malatesta, cloaked the walls of the church of San Francesco with a Renaissance mantle, whilst the inside was converted from a Gothic building into a ‘temple’

Answer 25

its new style of civic humanism seemed to gain a vast popularity in Italy inspired from Florence

Question 26

The Florentine patricians formed the

Answer 26

signoria which controlled The Guilds of Florence, of whom controlled the arts and trades during the period- each promoting The Florentine ethos

Question 27

what was the Florentine ethos?

Answer 27

advocated republican liberty against the Caesarian peace, as seen in Bruni’s History of Florence – but it was the universal desire for “renunciation” which inspired the new artistic innovations of the period

Question 28

A growing number of pictures were painted of classical scenes and figures scenes, for example

Answer 28

Dürer’s Melencolia, Raphael’s School of Athens, Cranach’s Cupid complaining to Venus, Holbein’s Venus and Amor, and Boticelli’s The Birth of Venus.

Question 29

The Renaissance witnessed a coherence in the excitement and appeal of classical imagery, as well as within a European context, with such artists working with ‘the new style’ in the

Answer 29

Netherlands, Italy and Germany

Question 30

Yet, asserted by Vasari, such works were incepted exclusively by those of ‘intellectual respect’ and of high social status– and thus the Renaissance lacked unity among the wider European populace outside of the worlds of the likes of the

Answer 30

Medici

Question 31

Women were involved in the patronage of the

Answer 31

devotional visual arts, for example Atlanta Baglioni who hired Raphael to produce an altarpiece commemorating her murdered son, yet this was not a consistent or unified enterprise as male patrons dominated the commissioning and production of art
formed a small majority compared with the new sculptures and paintings of the Madonna’s and saints
‘this new mood did not make Italians either more or less religious than they had been before’HAY

Question 32

humanity of Jesus and Mary were emphasized through new iconographic types such as the

Answer 32

holy family or the Madonna nursing the Christ child depicted in Marian reliefs, hanging tapestries and decorated chests

Question 33

wide reception of devotional images and in many ways the Renaissance united the

Answer 33

‘high’ and ‘low’ artefacts, and equally in daily life for religious peoples.

Question 34

WHAT WAS an accessible and highly popular prayer book, designed for the aesthetic appeal by patrons who commissioned leading artists to create coloured and intricate devotional images to accompany prayers

Answer 34

May of Burgundy’s Book of Hours

Question 35

Boticelli’s Primavera was a relatively cheap alternative to wall tapestries

Answer 35

thus the combined devotional and classical iconography became a popular source of worship and education along with other painted images contained in prayer and hymn prints

Question 36

15th century also witnessed a popularisation of sculpture, which as a medium subtly changed the relationship between the

Answer 36

image and the beholder

Question 37

The Marian sculptures, for example the Pieta created in

Answer 37

1498 by Michelangelo Buonarroti, established a ‘empathetic piety’ by humanizing Mary, thus a coherence was developed in the popularisation of the Marian worship. The distance between sacred figures and beholders were reduced and sculpture became symbolic – with the figures being seen as three-dimensional beings, co-existing in the same physical and psychological space as their beholders

Question 38

Madonna was a popular sculpture that was recommended by patronal leaders, such as theologian Friar

Answer 38

Giovanni Dominici in the 15th century, to be displayed for the sacred education of children in the home
artistic development of Marian imagery sparked a coherent cultural practice in its devotional function for the unsophisticated and even uneducated beholders, including women and children

Question 39

devotional and aesthetic works

Answer 39

Raphael’s Transfiguration, Cranach’s The Crucifixion, Holbein’s Darmstadt Madonna and the works of Michelangelo, such as The Creation of Adam, The Last Judgement, and the Sistine Chapel ceiling

Question 40

coherent artistic movement in the custom of music, yet it was not explicitly one of classical revival - movement from b4

Answer 40

previous “dark age” of the Middle Ages as musical creativity was suppressed by the dominance of the Church and medieval authority.

Question 41

MUSIC - was little unity in the 15th century in bringing forward a more ‘human’ approach, as opposed to

Answer 41

God-centred, and there was no sharp line of demarcation between the Middle Ages and the Renaissance

Question 42

several music scholars and composers made discoveries and developed new sacred and secular compositions which became largely influential in early modern Europe SUCH AS

Answer 42

William Byrd produced various types of sacred and secular polyphony, keyboard and consort music in England, which subsequently led to his contribution to the Cantiones which was ‘forward looking’

Question 43

In 1588 he also published two collections of English songs which brought coherence to Catholic worship, with the

Answer 43

Psalms and Sonnets and Songs of Sadness and Pietie in the vernacular transforming worship for the majority of the populace who could not read Latin

Question 44

Palestrina is considered to have

Answer 44

modernised music’ producing secular madrigals, hymns and motets which had a vast influence on the development of music in the Roman Catholic Church, akin to Tallis

Question 45

The birth of the vernacular religious song, as well as secular song, in the 16th century flourished across

Answer 45

Europe in Spain, Germany, Netherlands, and England, working in large cathedrals and monasteries, the Papal Chapel in Rome and in parishes and collegiate churcheS

Question 46

growth of secular lyric poetry by

Answer 46

Petrarch, Spenser, Shakespeare and Milton, reflecting the increasing fascination that Renaissance writers and artists had with classical authors
the composers and artistic writers of the Renaissance engaged in a unified movement to ‘bring forward’ and emancipate a creativity from classical antiquity, not explicitly of classical styles, and coherence was discovered in its universal European audience

Question 47

Donato Bramante

Answer 47

Although he created some buildings at this time (Santa Maria Presso, San Satiro, Santa Maria della Grazie, the cloisters of Sant’ Ambrogio), his paintings, especially his use of the trompe l’oeil technique and the rigorous monumentality of his figures in solemn compositions, had a great influence on the Lombardic school. Bramante then moved from Milan to Rome in 1499, where he gained the favour of the future Pope Julius II.
In November 1503, Julius commissioned Bramante to renovate the Vatican. At first, Bramante dedicated himself to the basic new design of the Vatican palaces at the Belvedere. He worked on the new building of St Peter’s from 1506 on, which was later continued by Michelangelo. Within a few years, Bramante had risen to the position of being the most important architect at the papal court.

Question 48

Holbein

Hans holbe the younger

Answer 48

patron = Henry VIII
from 1537 court painter until death
arrived 2 ldn 1526, He painted portraits of many of the leading men of the day, and executed drawings for a picture of the family of his patron. He soon became a renowned Northern Renaissance portrait painter of major contemporary figures.

Question 49

michelangelo

Answer 49

son of a Florentine civil servant from the lower aristocracy
Francesco d’Urbino as an apprentice, who opened his eyes to the beauty of Renaissance art. Afterwards, he joined Ghirlandaio’s workshop as an “apprentice or servant”. Through Ghirlandaio, Michelangelo became acquainted with Lorenzo de’ Medici, the “Magnificent”. This patron of the arts and literature founded a school of art in his own palace, which was run by Bertoldo, one of Donatello’s students. Through this, Michelangelo strengthened his acquaintance with the Medici Family
1495, Cardinal Lorenzo di Pierfrancesco de’ Medici invited him to Rome. Thus, Michelangelo stayed in Rome for the first time. This time enabled him to study the splendour of the antiquity more intensively, with which he had first become acquainted in the gardens of the Medici. Here, he created Bacchus and in 1497 completed La Pietà , one of his most beautiful creations. This was a commission by the French ambassador to the Vatican for the tomb of his King Charles VIII. Today, this sculpture is in the Basilica of St Peter’s and constitutes a perfect reproduction of God’s sacrifice and inner beauty.

Question 50

rulers - Francis I quadrangle

Answer 50

The first half of the reign of Francis I (1494 to 1547) roughly corresponds to the time of the Italian Early Renaissance. Its love of splendour did not go beyond the building of large palaces which were decorated quite extravagantly by painters and sculptors on the inside and outside. As a transition from medieval castles, an ‘in-between’ type initially emerged, with a quadrangle, a court of honour, as a feature and focus point. With its three wings, it was open to the front, to ensure the entrance of the owner and his guests to be as imposing as possible. All later palaces of kings and princes were developed from these ideas. The sometimes open stair towers with a spiral staircase, in front of the facades, as well as the bay windows and balconies, and the rising total structure with the steep roofs and the great number of high chimneys are typical for France. The most beautiful and certainly most famous examples for this are the stair tower of the otherwise medieval Castle of Blois, with which Francis I began his building activities. Entirely in the style of the French Early Renaissance and the best example of this ‘in-between’ style is Chambord Castle (1519/1541), surrounded by a wall of more than thirty kilometres. In the centre of the castle is a double spiral staircase, designed by Leonardo da Vinci. All Loire castles were surpassed by the palace of Fontainebleau