Revaluing Renaissance Art

Arts, 2024

This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY

Berlin/Boston, De Gruyter (English/French, Open Access), 2023

https://www.degruyter.com/document/doi/10.1515/9783111072739/html#contents The aim of this publication is to clarify the relationships between material restoration and politics in Italian Renaissance art. The focus of this research is on the question of origin as a foothold for political, patrimonial, and cultural identity. These claims were enacted within a system which, rather than restoring the initial forms and meanings of existing objects, remodeled the past according to new identity requirements: spaces were reorganized, and works of art invested with new meanings. Their material and aesthetic reality was thus transformed and redefined. The aim is therefore to analyze the potential physical modifications of these artefacts in light of their symbolic recoding.

Renaissance art is known for its heavy biblical themes dating from the early 1400s. However, in this paper, I will discuss how the Renaissance takes a more individualistic view of man's place on earth through the use of mathematical symbolism, psychological complexity, and perspective. I will begin with the significant underlining characteristics of the Renaissance and how they were a revolutionary development. This will then lead to examples of Classical art such as the Statue of Hercules and The Cameo Glass Skyphos. I will then discuss the French Revolution and European Neoclassicism and how the Renaissance created new techniques that drifted away from these movements. The paper will conclude with an analysis of The Last Supper and the Church of San Vitale and how they became the dominant style of art in Italy in the 16th century.

Journal of Art Historiography, No. 20, June 2019

2010

The first book to be dedicated to the topic, Patronage and Italian Renaissance Sculpture reappraises the creative and intellectual roles of sculptor and patron. The volume surveys artistic production from the Trecento to the Cinquecento in Rome, Pisa, Florence, Bologna, and Venice. Using a broad range of approaches, the essayists question the traditional concept of authorship in Italian Renaissance sculpture, setting each work of art into a complex socio-historical context. Emphasizing the role of the patron, the collection re-assesses the artistic production of such luminaries as Michelangelo, Donatello, and Giambologna, as well as lesser-known sculptors. Contributors shed new light on the collaborations that shaped Renaissance sculpture and its reception.