By Irene Earls

The Renaissance stands as, arguably, the main major interval within the heritage of paintings. writer Irene Earls offers biographical chapters for every of the 10 most renowned artists from the ecu Renaissance: Alberti, Brunelleschi, Donatello, Fra Filippo Lippi, Giotto, Leonardo, Mantegna, Masacio, Michelangelo and Raphael. each one bankruptcy strains the youth and inventive improvement of the artist, recounts in vibrant element his so much noteworthy creations, areas his paintings inside of inventive, cultural, and philosophical (often non secular) contexts, and examines the ways that the artist stimulated next generations of artists. A timeline, bankruptcy bibliographies, a word list of phrases, and a topic index supply extra instruments for readers studying artists from this remarkable interval of creative construction and rebirth.

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The celebrated painter of ancient Greece, Apelles “became official painter at the Macedonian court and was the only artist allowed to portray Alexander the Great . . [and also] painted Calumny . . a beautiful woman beside herself with passion” (Earls, Renaissance Art, p. 52). Alberti’s ideas in turning to the humanist for classical subject matter represent a complete break from all previous art. In addition to architecture, painting, and perspective, Alberti found interest in sculpture. In 1465 he wrote De Statua (On the Statue).

His strong determination to be the world’s best in an art other than sculpture overcame any possibility of being another artist’s helper. Accordingly, after this, Brunelleschi chose architecture “as being more useful to mankind than either sculpture or painting” (Vasari, p. 139). Without a glance back he sold the farm where he lived and with Donatello moved to Rome to study Roman architectural monuments. Vasari says that as “he walked through Rome seeing for the first time the grandeur of the buildings and the perfect construction of the churches he kept stopping short in amazement, as if thunderstruck” (Vasari, p.

But this small conciliatory gesture wasn’t as drastic as one might believe. Learning the art of jewelry was not uncommon at FILIPPO BRUNELLESCHI, 1377–1446 23 the time, although individuals who wished to pursue a career in the arts more often took art classes. Not only did Donatello, Ghiberti, Uccello, and many other Renaissance artists begin their work in a goldsmith’s workshop, so too did Brunelleschi (Hauser, p. 53). Successful in his new environment, inordinately talented Brunelleschi drew and painted beyond common facility.

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