Renaissance Art Research Articles

An Analysis of the Multiple Meanings of Art during the Renaissance

During the Renaissance, the revival of ancient Roman culture was of great practical significance. The Renaissance was a cultural movement that emphasized humanism, the revival of classical culture, and artistic innovation, seeking to transcend the Dark Ages of the Middle Ages and restore the glory of ancient culture and art. By re-learning and borrowing from ancient Roman culture, Renaissance artists attempted to re-explore the natural, religious, political, and social issues of mankind through the aesthetic expression and social function of art. This paper analyses the practical significance of reviving ancient Roman culture through the study of the background of the Renaissance era. Taking Leonardo da Vinci's work "Mona Lisa" as an example, starting from the painting technique of "Mona Lisa", explores the artist's understanding and expression of art, as well as the meaning behind the artwork. The purpose of this paper is to explore the aesthetic expression as well as the social function of "art" during the Renaissance, using "art" as a clue. And finally, conclude that Renaissance art had a profound influence on the development of later generations and became an important milestone in the history of Western art.

An Exploration of Artistic Beauty in Renaissance Artworks: A Case Study of Botticelli's Spring

With more and more people beginning to enrich their spiritual world, some of them have a stronger interest in modern aesthetics and even classical aesthetics, at the same time, with the continuous development of society, more and more people attach importance to aesthetic education. Many scholars also began to conduct a deeper study of Renaissance artworks. In this context, it is necessary to explore the beauty of Renaissance art. This paper will adopt the case method, taking the representative work of Botticelli in the Renaissance as an example, to show the beauty of art in the artworks of the Renaissance through its content, painting techniques, composition, and the author's emotions was how to express. Choose to analyze this painting from various aspects in order to increase the persuasiveness of this paper. To prove that the aesthetic expression in the artworks during the Renaissance is helpful to the guidance of modern art.

От Христа Пантократора к Salvator Mundi: развитие иконографии Спасителя в итальянской станковой живописи XIII-XV вв.

The iconography of Jesus Christ is one of the most relevant and, at the same time, the most difficult subjects to study. The formation of stable iconographic types of the Savior’s image went through a complicated path, going through various transformations, mainly related to the practical or liturgical function of icons. One of the most popular type, Pantokrator, has been realized in the panel painting of the Italian central region from the earliest times in the copies of the main Roman relic - Acheropita (Greek: Αχειροποίητα, the Image of Christ Not Made by Human Hands), which, as believed, had the same miraculous and protective power as an ancient icon. These copies, representing the image of the Savior on the throne (sometimes flanked by the parts of a triptych with the praying Virgin Mary and Saint John depicted) were largely produced for the churches of Rome and Lazio until the end of the 15th century. In the Renaissance, with its focus on individual religious practice, there is an increasing demand for small altars for home prayer, where artists implemented a new type of iconography, Veronica (Latin: Vera Icona, True Face), which (as well as Acheropita) was associated with the legend of the miraculous discovery of a relic and also endowed with a special protective power. Various interpretations of the illustrative images of the True Face in Italy and the artistic solutions found by the painters of Northern Europe finally lead to the formation and wide circulation in the Renaissance art of another iconographic variation - the Savior of the World (Latin: Salvator Mundi). This article discusses the pictorial and textual sources that determined the completion of the main iconographic types of Jesus Christ in Italian panel painting of the 13th – 15th centuries and with many of attracted samples studies the development of Savior’s iconography.

Were camptodactyly and boutonniere deformity considered pathological in late fifteenth century Italy? Evidence from the sculptures of Francesco di Simone Ferrucci (1437–1493)

Representations of disease in Renaissance paintings have been discussed in medical literature, in the context of historical epidemiology, as potential sources of information about the incidence and appearance of particular conditions in earlier times. The present study seeks to show how Renaissance art can also contribute to historical nosology by casting light on the question of whether particular conditions recognized as abnormal today were understood as pathological in the past. The hands of two Renaissance Madonna figures are examined in sculptures produced by Francesco di Simone Ferrucci (1437–1493). Because the Virgin Mary was considered physically perfect by believers, and because Francesco was a successful producer of devotional sculptures for a wide audience, it is highly probable that any abnormal conditions found in the hands of Madonnas sculpted by him would not have been regarded as pathological at the time. The sculptures examined appear to depict camptodactyly and boutonniere deformity in the hands of Madonna figures. These uncommon conditions are also found in Renaissance artworks that show other individuals of high social status, but their presence in the hands of the Madonna gives the strongest indication that they were not considered pathological, due to religious belief in the Virgin’s physical perfection. Examination of Madonna figures in late fifteenth century Renaissance art can contribute to historical nosology by identifying abnormal conditions that were not regarded as pathological at the time. The examples of such conditions identified in the present study are camptodactyly and boutonniere deformity.

Using represented bodies in Renaissance artworks to teach musculoskeletal and surface anatomy.

Surface anatomy is an important skill for students in preparation for patient care, and peer examination is often used to teach musculoskeletal and surface anatomy. An alternative pedagogical approach is to use bodies represented in artworks. Represented bodies display fictive anatomy, providing students with the opportunity to apply their musculoskeletal knowledge and to think critically when evaluating the anatomical fidelity of a represented body. An elective course at the University of Michigan enabled undergraduate students to analyze the musculoskeletal and surface anatomy depicted in Renaissance artworks. Students traveled to Italy in 2018 (n = 14) and 2022 (n = 15) to analyze the fictive anatomy portrayed in artistic sculptures and musculoskeletal structures depicted in wax anatomy models and sculpted skeletons. In assignments, students were asked to identify musculoskeletal structures as portrayed in the context of represented anatomy created by Italian Renaissance artists and to assess the fidelity of the depicted anatomy. The students also applied their knowledge of musculoskeletal anatomy to describe body position and evaluate muscle function in their assessments of the accuracy or inaccuracy of the fictive anatomy. The students reported that evaluating the anatomical fidelity of represented bodies in artworks supported their learning of musculoskeletal and surface anatomy, and that their critical thinking skills improved in the course. Evaluation of the anatomical fidelity of represented bodies in artworks is an effective pedagogical approach that can be implemented in art museums as an adjunctive learning experience to deepen students' musculoskeletal and surface anatomy knowledge and further develop their critical thinking skills.

The Fish Bone Technique: An Innovative Approach for the Bony Nasal Pyramid.

Among many contributions to the world of art and science, Renaissance artist Leonardo da Vinci created the technique known as sfumato. In this technique, da Vinci considered that the regions to be highlighted should be lit up, while the regions to be hidden should be darkened. Drawing parallel with the face, we can work on the anatomical structures underlying the skin and create a favorable surface anatomy for the entire face, including the nose. However, to achieve the ideal hourglass shape of the nose, the bones must be shaped, and a variety of osteotomies are described and used to achieve this. The new and innovative Fish Bone technique, described in this article, allows for the bony nasal pyramid to be shaped and adapted to the hourglass shape, resulting in a harmonious contour, with smooth transitions and preservation airway.

МОДЕЛЮВАННЯ ХУДОЖНЬОГО ПРОСТОРУ В ДРУГОМУ ТОМІ «МЕРТВИХ ДУШ» МИКОЛИ ГОГОЛЯ

The article studies the specifics of modeling of the space in the artistic structure of the second volume of «Dead Souls». This theme has not been designated as the subject of a special study and merits for the utmost respect, because it is closely related with features of the development of Gogol’s plan and idea. The object of the article is chronotopic organization of the second part of the poem, where the richness of the description of the activity is attributed to the trio of equals: «earthly», «transitional» and «spiritual». Such threefold conception sacralizes the text, potentiates the sound of the idea of resurrection, imbues the realities with the biblical symbolism. Coordinates of the road as a main motive of the second volume of «Dead Souls» are universalized, the space paradigm is realized with the help of the landscape, which is different from the images of pictures of nature in the first part of the poem. Specular image of the churches and trees complements the mountain landscape and organizes a harmonious perspective of connection between nature and the human world. Mirror projections semantically correlate with the infernal, or eternal matrix, microcosm of «dead» and «alive», and are identified as a device of complexity, characteristic of medieval painting, Renaissance and baroque art, as a manifestation of «reversal perspective». The author also studies the specificity of the landscape and the functioning of biblical images associated with it; a role of «dumb scene», spacious «confusion»; a motive of the road as an axial constant of the poem, which has two dimensions: the road, connected with Chichikov’s troika, and the road of all historical world, which Rus-troika rushes, which correlates with the synodic spiritual vertical, with the Easter basis – a characteristic of Gogol’s «Dead Souls» structure.

Expressive fluency skills in the arts of the European Renaissance

Expressive fluency skills in the arts of the European Renaissance

Thinking with Heraldry on the Eve of the Reformation: A Drawing by Niklaus Manuel Deutsch

This essay addresses an understudied drawing of a fictional coat of arms by the Swiss artist Niklaus Manuel, called Deutsch, suggesting that it gently subverts heraldic conventions, reflecting contemporaneous concerns about the instability of earthly insignia. By evoking iconographies of Fortuna and the homo viator, the drawing challenges the security of armorial prestige. Manuel – like Albrecht Dürer and Martin Schongauer before him – used the heraldic framework to probe pictorial conventions and to signal their artistic authority as arbiters of ornamental meaning. Produced on the eve of the Reformation, the drawing prefigures the intensified scrutiny of earthly and spiritual sign systems that would occur just a few years later. Art historians have tended to dismiss heraldry as a distinctly medieval and utilitarian category of image, too rule‐governed to nourish the imaginations of Renaissance artists. However, Manuel's drawing unlocks a window onto a world in which the heraldic provided a common point of reference for thinking about signification and identity during a period of transformative cultural change.

A Study on Raphael: One of the Three Masters of the Renaissance

In the 14th century, the Renaissance first emerged in various city-states in Italy, and then expanded to Western European countries, reaching its peak in the 16th century. The influence of the Renaissance has been reflected in art, architecture, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry. Renaissance scholars took a humanist approach to their research and looked for realism and human emotion in art. As one of the three masters of the Renaissance, Raphael represents the pinnacle that Renaissance artists can achieve in the career of ideal beauty. Raphael was an unmistakable, unfettered, eloquent poet, painter, and extremely agile and superhuman. Raphael visualized the artistic ideals of Renaissance Neoplatonism as if they were easy to visualize. He embraced the artistic ideal of Neoplatonism, and with his refined painting skills, he brought the humanism of the Renaissance to the extreme. Although there are not many works left by Raphael, the talent displayed in his works has a far-reaching influence on future generations. This article will analyze Raphael's influence on the artistic creation style of the Renaissance and the artistic creation of later artists from the perspective of humanism and classicism by appreciating Raphael's six works.

Changes in Religious Figure Representation: A Study of the Holy Infant in Medieval and Renaissance Art

The representation of religious content has been long dominating the development of western art. A great achievement has been made through decades when Christian artists gradually developed a system of abstract representation to keep a comfortable distance from the pagan past, as well as to keep a balance between the aniconic doctrine and the desire for visual presentation. This article takes one of the most popular themes of religious painting, the Holy Infant as research focus to explain the changing representations of different eras. By comparing the plastic art representations of the holy infant, it is argued that changes have been made through symmetrical spatial layouts, characterizations, and metaphors.

The Golden Ration in the Renaissance Art: A Comparative Study on the Geometrical Layout of the Mona Lisa and the Annunciation

Nowadays, the golden ratio is involved in many fields, for instance, to pursue the perfect face shape and features, people advocate referring to the golden ratio of the human face to carry out cosmetic surgery. People also match different clothes and fashion accessories to better shape the golden ratio of the human body structure, the ratio can also be used as an aid in painting or photography. It is worthwhile to answer the questions like why and when was the golden ratio extensively applied in art, as well as what evidence of the evidence behind would support the utilization of the golden ratio. To answer these questions, this paper would engender the answer by appreciating the Renaissance artwork with a golden ratio. The Renaissance would be a flourishing of the application of the golden ratio, which can be reflected by hundreds of Renaissance artworks that have used this ratio and have become classics. The golden ratio can be correctly used because the existence of this ratio is invented in ancient Greek and is based on science, the ratio has stood the test of time and can be expressed by mathematics proportion.

Perspective in Renaissance Artwork-Based on the Works of Leonardo da Vinci and Albrecht Durer

The application of perspective has become ubiquitous in the field of art in todays society, yet the role that the knowledge of perspective played while in the field of painting during the Renaissance is rarely talked about. Therefore, the subject of this paper is to analyze the images of famous paintings as a way to demonstrate the application of perspective in Renaissance painting. The methodology of this paper is as follows: the authors chose two famous Renaissance artists, Leonardo da Vinci and Albrecht Drer, and selected two representative works from each of them to study, which are The Last Supper, Mona Liza, Saint Jerome in His Study and Feast of the Rosary. In the study, the authors observe the space, structure and focus of the paintings in order to analyze the relationship between painting techniques and knowledge of perspective. This study attempts to show the reader the application of perspective knowledge in the paintings.

Beyond the Concept of Genre Painting: Johannes Vermeer and Woman Holding a Balance

Though leaving not so many artworks, the Dutch artist Johannes Vermeer has always been known as one of the leading figures of Renaissance art in northern Europe in the seventeenth century. Many of his works are praised for the careful depiction of the daily scenes of the Dutch people, and as a result, being categorized as genre paintings. However, this general comment of reflection of the reality for Vermeer's works has been considered incomplete. The paper focuses on Vermeers masterpiece Woman Holding a Balance, and the main purpose of this paper is to trace Vermeers inner thoughts that he applied in his painting, based on his careful use of underpainting, color, and perspective. The result lies in visual analysis and contextualization of the painting, and it reveals the fact that Vermeer not only wants to present reality but also his artistic invention to form a distant inner world of the painting, with the sense of reverence and privacy of the daily scenes.

The Embodiment of Engineering in Renaissance Art Works Based on the Art Works by Leonardo da Vinci, Albrecht Drer, and Mariano di Jacopo

During the Renaissance, many artists create pieces of work with the help of perspectives on different fields, like mathematics and engineering. The perspectives of mathematics and engineering are shown in different art pieces by different artists, such as Leonardo da Vinci, Drer, and Taccola. They are discovered in the Codex on the Flight of Birds by Leonardo Da Vinci, the perpetual wheel with articulated arms by Taccola, and Drers Melodia. Together, the author discovered how the three pieces bring out the perspectives of mathematics and engineering, how art is combined with these perspectives in the different art pieces, and what it brought to or inspire people together. Through analyzing different pieces of literature and the art piece itself, the authors found out that art can relate to the perspectives of mathematics and engineering. These brilliant art pieces also did inspire future generations of people who continue to study this topic and the history related to this field.

Hematohidrosis in 15th Century Renaissance Art and a Review of Modern Literature.

Hematohidrosis, or hematidrosis, is a rare medical condition characterized by blood oozing from the intact skin in the absence of a bleeding problem.[1] Prior to modern-day medical literature, these phenomena had been captured in Renaissance and also present-day artwork. While the purpose of medical literature is to aid healthcare professionals and patients in the better understanding and treatment of disease, a significant proportion of Renaissance art commissioned by the church depicted scenes from the Bible, for the purposes of a visual depiction of key events to promote teachings of the faith, and to encourage devotion to God.

Integration of Renaissance Arts and Hermeticism: Artful Tarot and Astrology

It has long been recognized that Renaissance arts can interact with some Occultism concepts, as many artists during the Renaissance could also be alchemists and mystics. Many studies based on Western Occultism nowadays are trying to explore the relationship between ethos during the Renaissance and concepts in Hermeticism, which is one of the streams of occultism. The author believed that the ethos and the concepts can be seen in some artworks during Renaissance. Consequently, this paper focuses on the relationship between Renaissance arts and Hermeticism. To demonstrate how Hermeticism impact the Renaissance arts and how Renaissance in turn developed Hermeticism. This paper applies a case study and mainly analyzes two artworks by Albrecht Dürer. The result shows that many Renaissance arts manifested Hermeticism and the impact of humanism during the Renaissance can be found in Modern Hermeticism. This paper is of great significance in the occultism study combined with art history.

The Connection with Science and Renaissance Art

This article is about two artists who were both important in the history of Renaissance art, Leonardo da Vinci and Albrecht Dürer. They developed scientific research in their artistic production, combining art and science to make the results of their work more rigorous and to provide much material for future research in history as well as in many other fields. Leonardo da Vinci was not only a great painter but also an accomplished painter in many other fields. He used the study of the human body and the analysis of space in his paintings, and it was found after later studies that the proportions and perspective of the human body used by Leonardo da Vinci were drawn in perfect conformity with the golden ratio. The work of Albrecht Dürer, a representative figure of the Northern Renaissance, is a perfect interpretation of naturalistic scientism because he observed nature and his study of the proportions of the human body, and his study of nature influenced later painters in their treatment of natural details in the paintings. An analysis of Leonardo da Vinci and Albrecht Dürer reveals the relationship between art and science during the Renaissance, and it is also possible to observe that the scientific research that developed as a result of art had a great influence on the subsequent creation of paintings.

FLANNERY O'CONNOR'UN WISE BLOOD VE OĞUZ ATAY'IN TUTUNAMAYANLAR ROMANLARINDA YABANCILAŞMA VE GROTESK

The term, grotesque is a technique that is used to unite oppositions such as comedy and horror, pleasure and repulsion. Originally appearing in Renaissance art, the grotesque was also employed in literature. Thomas Mann claims that “the grotesque is its most genuine style” (1991: 13) , because of the sense of loss, alienation and meaninglessness caused by the Great War. In terms of the theme of alienation, two protagonists Hazel Motes from Flannery O’Connor’s Wise Blood and Turgut Özben from Oğuz Atay’s Tutunamayanlar are significant with their almost insane representations in society. In this paper, two novels from two different countries will be analysed to observe the elements of the grotesque and revealed how the authors applied the elements in their novels to criticise and satirize the social and political corruption in their own countries.

Three-dimensional Visualization in Diagnostic Imaging: A Renaissance in Radiology.

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