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Italian Renaissance painting is the painting of the period beginning in the late 13th century and flourishing from the early 15th to late 16th centuries, occurring in the Italian Peninsula, which was at that time divided into many political states, some independent but others controlled by external powers. The painters of Renaissance Italy, although often attached to particular courts and with loyalties to particular towns, nonetheless wandered the length and breadth of Italy, often occupying a diplomatic status and disseminating artistic and philosophical ideas.[1]
The Proto-Renaissance begins with the professional life of the painter Giotto and includes Taddeo Gaddi, Orcagna, and Altichiero. The Early Renaissance style was started by Masaccio and then further developed by Fra Angelico, Paolo Uccello, Piero della Francesca, Sandro Botticelli, Verrocchio, Domenico Ghirlandaio, and Giovanni Bellini. The High Renaissance period was that of Leonardo da Vinci, Michelangelo, Raphael, Andrea del Sarto, Coreggio, Giorgione, the latter works of Giovanni Bellini, and Titian. The Mannerist period, dealt with in a separate article, included the latter works of Michelangelo, as well as Pontormo, Parmigianino, Bronzino, and Tintoretto.
The influences upon the development of Renaissance painting in Italy are those that also affected architecture, engineering, philosophy, language, literature, natural sciences, politics, ethics, theology, and other aspects of Italian society during the Renaissance period. The following is a summary of points dealt with more fully in the main articles that are cited above.
A number of Classical texts, that had been lost to Western European scholars for centuries, became available. These included Philosophy, Poetry, Drama, Science, a thesis on the Arts and Early Christian Theology. The resulting interest in Humanist philosophy meant that man's relationship with humanity, the universe and with God was no longer the exclusive province of the Church. A revived interest in the Classics brought about the first archaeological study of Roman remains by the architect Brunelleschi and sculptor Donatello. The revival of a style of architecture based on classical precedents inspired a corresponding classicism in painting, which manifested itself as early as the 1420s in the paintings of Masaccio and Paolo Uccello.
Simultaneous with gaining access to the Classical texts, Europe gained access to advanced mathematics which had its provenance in the works of Byzantine and Islamic scholars.The advent of movable type printing in the 15th century meant that ideas could be disseminated easily, and an increasing number of books were written for a broad public. The development of oil paint and its introduction to Italy had lasting effects on the art of painting.
The establishment of the Medici Bank and the subsequent trade it generated brought unprecedented wealth to a single Italian city, Florence. Cosimo de' Medici set a new standard for patronage of the arts, not associated with the church or monarchy. The serendipitous presence within the region of Florence of certain individuals of artistic genius, most notably Giotto, Masaccio, Brunelleschi, Piero della Francesca, Leonardo da Vinci and Michelangelo, formed an ethos that supported and encouraged many lesser artists to achieve work of extraordinary quality.[2]
Much painting of the Renaissance period was commissioned by or for the Catholic Church. These works were often of large scale and were frequently cycles painted in fresco of the Life of Christ, the Life of the Virgin or the life of a saint, particularly St. Francis of Assisi. There were also many allegorical paintings on the theme of Salvation and the role of the Church in attaining it. Churches also commissioned altarpieces, which were painted in tempera on panel and later in oil on canvas. Apart from large altarpieces, small devotional pictures were produced in very large numbers, both for churches and for private individuals, the most common theme being the Madonna and Child.
Throughout the period, civic commissions were also important. Local government buildings were decorated with frescoes and other works both secular, such as Ambrogio Lorenzetti's The Allegory of Good and Bad Government, and religious, such as Simone Martini's fresco of the Maest, in the Palazzo Pubblico, Siena.
Portraiture was uncommon in the 14th and early 15th centuries, mostly limited to civic commemorative pictures such as the equestrian portraits of Guidoriccio da Fogliano by Simone Martini, 1327, in Siena and, of the early 15th century, John Hawkwood by Uccello in Florence Cathedral and its companion portraying Niccol da Tolentino by Andrea del Castagno.
During the 15th century portraiture became common, initially often formalised profile portraits but increasingly three-quarter face, bust-length portraits. Patrons of art works such as altarpieces and fresco cycles often were included in the scenes, a notable example being the inclusion of the Sassetti and Medici families in Domenico Ghirlandaio's cycle in the Sassetti Chapel. Portraiture was to become a major subject for High Renaissance painters such as Raphael and Titian and continue into the Mannerist period in works of artists such as Bronzino.
With the growth of Humanism, artists turned to Classical themes, particularly to fulfill commissions for the decoration of the homes of wealthy patrons, the best known being Botticelli's Birth of Venus for the Medici. Increasingly, Classical themes were also seen as providing suitable allegorical material for civic commissions. Humanism also influenced the manner in which religious themes were depicted, notably on Michelangelo's Ceiling of the Sistine Chapel.
Other motifs were drawn from contemporary life, sometimes with allegorical meaning, some sometimes purely decorative. Incidents important to a particular family might be recorded like those in the Camera degli Sposi that Mantegna painted for the Gonzaga family at Mantua. Increasingly, still lifes and decorative scenes from life were painted, such as the Concert by Lorenzo Costa of about 1490.
Important events were often recorded or commemorated in paintings such as Uccello's Battle of San Romano, as were important local religious festivals. History and historic characters were often depicted in a way that reflected on current events or on the lives of current people. Portraits were often painted of contemporaries in the guise of characters from history or literature. The writings of Dante, Voragine's Golden Legend and Boccaccio's The Decameron were important sources of themes.
In all these subjects, increasingly, and in the works of almost all painters, certain underlying painterly practices were being developed: the observation of nature, the study of anatomy, of light, and perspective.[2][3][5]
The art of the region of Tuscany in the late 13th century was dominated by two masters of the Italo-Byzantine style, Cimabue of Florence and Duccio of Siena. Their commissions were mostly religious paintings, several of them being very large altarpieces showing the Madonna and Child. These two painters, with their contemporaries, Guido of Siena, Coppo di Marcovaldo and the mysterious painter upon whose style the school may have been based, the so-called Master of St Bernardino, all worked in a manner that was highly formalised and dependent upon the ancient tradition of icon painting.[6] In these tempera paintings many of the details were rigidly fixed by the subject matter, the precise position of the hands of the Madonna and Christ Child, for example, being dictated by the nature of the blessing that the painting invoked upon the viewer. The angle of the Virgin's head and shoulders, the folds in her veil, and the lines with which her features were defined had all been repeated in countless such paintings. Cimabue and Duccio took steps in the direction of greater naturalism, as did their contemporary, Pietro Cavallini of Rome.[2]
Giotto had a number of contemporaries who were either trained and influenced by him, or whose observation of nature had led them in a similar direction. Although several of Giotto's pupils assimilated the direction that his work had taken, none was to become as successful as he. Taddeo Gaddi achieved the first large painting of a night scene in an Annunciation to the Shepherds in the Baroncelli Chapel of the Church of Santa Croce, Florence.[2]
The paintings in the Upper Church of the Basilica of St. Francis, Assisi, are examples of naturalistic painting of the period, often ascribed to Giotto himself, but more probably the work of artists surrounding Pietro Cavallini.[9] A late painting by Cimabue in the Lower Church at Assisi, of the Madonna and St. Francis, also clearly shows greater naturalism than his panel paintings and the remains of his earlier frescoes in the upper church.
A common theme in the decoration of Medieval churches was the Last Judgement, which in northern European churches frequently occupies a sculptural space above the west door, but in Italian churches such as Giotto's Scrovegni Chapel it is painted on the inner west wall. The Black Death of 1348 caused its survivors to focus on the need to approach death in a state of penitence and absolution. The inevitability of death, the rewards for the penitent and the penalties of sin were emphasised in a number of frescoes, remarkable for their grim depictions of suffering and their surreal images of the torments of Hell.
These include the Triumph of Death by Giotto's pupil Orcagna, now in a fragmentary state at the Museum of Santa Croce, and the Triumph of Death in the Camposanto Monumentale at Pisa by an unknown painter, perhaps Francesco Traini or Buonamico Buffalmacco who worked on the other three of a series of frescoes on the subject of Salvation. It is unknown exactly when these frescoes were begun but it is generally presumed they post-date 1348.[2]
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