Humanism and the Renaissance Essay Example for Free

Humanism and the spiritual rebirth set aboutFounded on the ideals of Italian scholar and poet Francesco Petrarca during the late fourteenth century, Renaissance mercifulism centered itself on beneficences electric potential for achievement. Although God is credited for creating the universe, human beings are the ones credited for developing and sustaining it. The shift was away from understanding the valet de chambre 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 guiles. By the mid-fifteenth century, this curriculum evolved to include rhetoric, grammar, poetry, history and virtuous philosophy (or ethics). Together these individual disciplines comprised the core of humanistic studies. But the ideas introduced were not altogether new. Humanists relied on patriarchal sources such as the disuniteical literature of Greece and Rome. What is remarkabl e, however, are the great lengths to which the movement sought to recover and reintroduce old ideas to the present cadences.It is remarkable when considering that after the fall of Rome in the fifth century a lot of the texts housing ideas central to humanistic thought were virtually lost or buried in obscurity. old-fashioned ideas within 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. After the fall of Rome, human progress and achievement slowed to a trickle.Western civilization became mired in a period of cultural decline that the Renaissance opinion considered a dark age in human history. The only way out was a echo to the ideas propelling the ancient world forward. It was, in essence, a trip back to the future. Humanism profoundly unnatural the operativeic community and how artists themselves were perceived . The medieval mind viewed artists as humble servants whose talent and ability were meant to honor God. This is unornamented in the work of medieval artists adorning churches and cathedrals.Renaissance artists, in contrast, were trained intellectuals salutary versed in the classics and numerical principles. And the art that they created reflected this newfound perspective. The Renaissance also gave birth to a new class in the neighborly order the merchant class which closely resembles what we now refer to as the middle class. And this merchant class had the means to commission an artists services. This dramatically expanded the sources of patronage (i. e. financial support) as well as the themes an artist could consider.No longer was patronage a luxury only the aristocracy could afford. And no longer were commissions re armated in the first place to religious considerations. Enlightened citizens with the means to afford it considered artistic patronage an important activity. A nd with expanded participation, new kinds of art were introduced into the Renaissance landscape. Aristocratic patrons often commissioned portraits. But 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 example matter and adorned the halls and rooms of town homes and country villas. Citizens such as Cosimo de Medici were civic minded and support notable worthwhile causes. De Medici supported libraries, for example. He also had a fondness for the work of the artist Donatello and an enliven in merging Platos ideals with Christian philosophy in an effort to demonstrate how vivifications spiritual aspects can catch up with physical limitations (leading to a revival of Neo-Platonism).Cosimos grandson Lorenzo the Magnificent was an avid art collector and benefactor to a youthfulness Michelangelo. This underscored the benefit of associating intellectual pursuits with the resources to p ursue them. It cast a wide social net along with establishing a thriving market place for creativity. One work of art that embodies the ideal of the Early Italian Renaissance is Donatellos Penitent Magdalene. The work was commissioned between the late 1430s and 1450s. It is a life-size polychromed wood sculpture.The contrapposto positioning (one leg bearing weight with the other relaxed) is a reference to classic Greek style. The work presents bloody shame 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 saviour Christs most devout followers and trusted confidants. She was the first person to whom Jesus appeared after the Crucifixion. Afterwards, however, she lived her life in perpetual penance and self-imposed 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 lodge to r emind us that this was once a strong and beautiful presence to behold is a gauzy bone structure, the contrapposto pose and long hair. But the trembling hands raised as if in supplication and tattered dress convey that this woman has suffered long enough. She is deserving 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.