Meeting Italian painting- one of the most significant sections of the museum’s art gallery: it numbers over five hundred and fifty works and chronologically covers the entire period of development of one of the leading European schools of painting. Of these in permanent exhibition no more than two hundred are represented, and those stored in the museum’s storerooms remain little known, both to the general public and to specialists.
Italian painting has a special place in history State Museum Fine Arts named after A.S. Pushkin, since it was with her that the formation of his art gallery began. The founder of the museum, Ivan Vladimirovich Tsvetaev, who planned to create a museum of casts from works of classical sculpture at Moscow University, even before its opening came to the conclusion that it was necessary to include originals, primarily paintings, in the exhibition. The final turning point in his views occurred in the late 1900s, when the museum was offered valuable collections of original works. Among them, consisting of unique monuments Italian painting of the XIV-XV centuries, collection of diplomat M.S. Shchekin, who laid the foundation for the collection of paintings. In 1924 Art Gallery The museum acquired the status of an independent section.
Early Italian painting, VIII-XIV centuries.
During the Middle Ages, Italian painting developed in close contact with the art of Byzantium, but gradually, from the second half XIII century, a new type of art is being formed here, in relation to which the term “proto-Renaissance” is often used, that is, “pre-renaissance”.
WITH Byzantine traditions associated are three fragments of mosaics that once adorned the old Basilica of St. Peter in Rome, as well as two monumental icons of the second half of the 13th century, made in the workshops of Florence and Pisa.
In the 14th century, the process of formation of Italian painting as deeply national in nature took place. artistic phenomenon. The main local schools are being formed, primarily the Florentine and Venetian, which will retain their leading position in subsequent centuries. The Siena school, one of the leading ones in the 14th century, is represented in the museum’s collection in particularly diverse ways. The signed “Crucifixion” of Segni di Bonaventura, assistant to the great Duccio, is one of outstanding monuments, as well as the doors with the image of Mary Magdalene and St. Augustine, parts of the not preserved altar composition, executed by Simone Martini, outstanding master first half XIV century.
Italian Renaissance painting, XV-XVI centuries.
Painting of Italy XV - early XVI century introduces the era of the formation and flourishing of Renaissance art. The ideological basis of Italian culture of the Renaissance was humanism, and one of its most important components was the discovery and deep creative development of the ancient heritage. The art of that time affirms the idea of the high destiny of man. In their works, artists depicted the world, relying on scientific achievements, they developed the basics of linear perspective, studied human anatomy and the laws of lighting.
The leading cultural center during the Early Renaissance (XV century) was Florence. Sandro Botticelli, one of the prominent masters of that time, owns the “Annunciation”, full of inner emotion, dating back to the late period of his work.
A high idea of a person was embodied in the painting “Portrait of a Young Man in the Image of Saint Sebastian” by Boltraffio, one of Leonardo da Vinci’s Milanese students.
During the Renaissance, the Venetian school experienced a brilliant flourishing, represented in the museum’s collection by the works of Jacopo Palma the Elder, Titian, Paris Bordone, Savoldo, Veronese, Jacopo Palma the Younger and others.
Italian painting of the 17th-18th centuries
Around 1600, two directions were formed in Rome - Caravaggism and Academicism, which largely determined further development not only Italian, but throughout European painting subsequent time. Caravaggio and his followers proclaimed an appeal to reality as the main principle, while representatives of Bolognese academicism, led by the Carracci brothers, asserted the inviolability of the canons classical art, enriched by the practice of life drawing.
A striking example of Caravaggism is the painting “The Crowning with Thorns” by Tommaso Salini, as well as “The Fruit Seller” from the circle of Bartolomeo Manfredi.
Bolognese academicism is represented in the museum's collection by the works of leading representatives of this movement - Guido Reni, Simone Cantarini, Guercino, Luca Ferrari and other masters.
IN Northern Italy, where painting developed in its own way, Bernardo Strozzi and Domenico Fetti worked.
The 17th century in Italian art is usually called the Baroque era. Its brightest exponents were the Roman Pietro da Cortona and the Neapolitan Luca Giordano. The Baroque style gave a powerful impetus to the flourishing of landscape, still life, and genre painting.
Innovative tendencies in painting at the turn of the 17th-18th centuries were especially clearly expressed by Giuseppe Maria Crespi and Alessandro Magnasco.
The last yak period in development Italian art associated with Venice, which in the 18th century produced a whole galaxy of brilliant painters, such as Giambattista Tiepolo, Sebastiano Ricci, Crosato, Pittoni, Canaletto, Bellotto, Francesco Guardi.
Italian painting of the 19th-20th centuries
During this period, Italy lost its leading position in the European fine arts and architecture, which it has preserved for four centuries.
This section opens with the painting “Napoleon on the Throne” by the famous Milanese neoclassicist Andrea Appiani. Giovanni Migliara and Ippolito Caffi worked in the urban landscape genre. Of great interest is a group of paintings by Giacinto Gigante, famous master Neapolitan landscape acquired by the museum starting in the mid-1980s.
Course program "History of Italian Art" in Florence
- Introduction;
- Chronology of the main historical stages, Roman period;
- XIII century:
Architecture: French Gothic in Italy;
Italian Gothic;
Sculpture, from Nicola Pisano to Arnolfo di Cambio; - Architectural and urban changes between the 13th and 14th centuries;
- Florence and Siena in the 14th century:
Cimabue and Duccio;
Giotto;
Simone Martini and the Lorenzetti brothers; - Florence in the second half of the century;
Traces of International Gothic. - Brunelleschi and the Revolution of Perspective:
Three fathers Italian Renaissance: Brunelleschi, Donatello, Masaccio; - Early Renaissance:
Florence in the first half of the 15th century; - Florence in the second half of the 15th century:
Men of Art at the Court of Lorenzo the Magnificent, Botticelli; - Leonardo da Vinci
- Raffaello and Michelangelo
Course program "History of Italian Art" in Milan
Course program "History of Italian Art" in Milan
The course program consists of two parts:
- Theoretical lessons introducing students to the history of Italy and the history of Italian art, with an emphasis on periods related to the history of Milan;
- Outdoor lessons organized in the final part of the course. The purpose of these lessons is in-depth study sections of the course that particularly interested students; visiting the cultural sights of Milan
Audio and video materials are used during lessons. Periods of art, main characteristics and key works arts (painting, sculpture, architectural structures etc.). Educational materials supplemented by illustrations, videos, audio recordings and other materials.
Example program:
- From Celtic tribes to the Roman Empire: the first cultic settlements and the arrival of the Romans. Archaeological finds era Ancient Rome; analysis of the first urban centers. Analysis of three architectural styles using the example of the Basilica of San Lorenzo;
- From early Christian Milan to the founding of the municipality: Saint Ambrose, Christian culture and the Longobard invasion. Basilica of Saint Simpliciano and Saint Ambrose: analysis and characteristics of the Romanesque style;
- Medieval Milan and the Signoria Visconti: chronology of the family tree of the Visconti dynasty;
- Milan and its medieval sites such as Piazza dei Mercanti and the Basilica of Sant'Eustorgio;
- General characteristics gothic architecture And gothic monuments Milan, such as Piazza San Marco and Duomo;
- Sforza Dynasty and Renaissance: Sforza Court and Sforza Castle.
Analysis and characteristics of the beginning of the Renaissance in Florence. Renaissance in Milan using the example of an analysis of the work of Milanese architects, sculptures, artists, including Filarete and Bramante, as well as architectural landmarks such as the Church of Santa Maria delle Grazie, Santa Maria and San Satiro; - Leonardo da Vinci: his life and works, period of life in Milan: history and analysis of the painting " last supper", a unique masterpiece of the great master;
- Spanish influence: Mannerist period, artists Caravaggio, Carracci and Rubens.
Analysis and characteristics of Baroque architecture: the Church of St. Alessandro, Palazzo Parino, Palazzo del Senato, Omenoni House and Palazzo Durini; - French and Austrian influence: Maria Theresa of Austria and the reform of Napoleon Bonaparte;
- Neoclassical architecture: Palazzo di Brera, Palazzo Reale, La Scala Theatre, Foro Bonaparte, Sempione Park, Villa Reale, Arch of Peace;
- Restoration, Renaissance, Kingdom of Italy: Austrian restoration and Italian War of Independence, era of Garibaldi;
- Industrial revolution. Eclectic Analysis: Monumental Cemetery, Victor Emmanuel Gallery;
- Fascism and rationalism: Mussolini and fascist architecture in Milan (Piacentini). Liberty style.
Analysis of the main characteristics of rationalism. Muzio and Gio Ponti: Statione Centrale (central station), Piazza San Babila, Palazzo di Giustizia (Palace of Justice)
Course program "History of Italian Art" in Rome
Course program "History of Italian Art" in Rome
Getting to know Rome, the Eternal City:
Ancient Rome:
- Roman Forum (Foro Romano);
- Palatine;
- Imperial forums;
- Colosseum;
- Capitol
Medieval Rome:
- Trastevere;
- Santa Maria in Trastevere;
- Basilica of Santa Cecilia;
- Santa Maria in Cosmedin and "Mouth of Truth";
- San Clemente
Vatican:
- San Pietro;
- Piazza San Pietro;
- Vatican Museums
Baroque:
- Gian Lorenzo Bernini - Piazza Navona, Elephant Obelisk, Santa Maria sopra Minerva;
- Francesco Borromini - St. Ivo alla Sapienza;
- Michelangelo Merisi da Caravaggio - San Luigi dei Francesi, Sant'Agostino and Santa Maria del Popolo;
- Galleria Borghese
Rationalism of the Roman Quarter:
- EUR
Modern Rome:
- Ara Pacis;
- Auditorium
A vacation in Rome is a fascinating introduction to the history and art of the Eternal City, a huge variety of cultural attractions and interesting places.
Our Art History course in Rome is a great opportunity to get to know the city through a wealth of historical and cultural discoveries. The course program begins with an overview classical era, studying creativity ancient writers and sights that have survived to our time.
The next stage is Christianity, the first period of intensive development of the city: the study of works religious art in local churches and monasteries.
Course participants will be able to evaluate outstanding masterpieces Baroque and Rococo eras decorating city squares and streets.
The final part of the course will be devoted to works of art and architecture after 1870, when Rome became the capital of Italy.
The Art History course in Rome includes classroom lessons as well as guided tours of the city. The program is designed as a whole series of exciting trips with main goal- acquaintance with the wonders and sights of Rome.
The first part of the course is taught in the classroom, using texts, illustrations and maps to introduce the history of Rome.
Rome, the Imperial Past: This part of the course examines sites from the classical period, such as the Roman Forum, the Colosseum, and the Pantheon, illustrating the political and cultural evolution Rome from the Empire to the Republic.
Early Christian and medieval Rome (IV - III centuries): churches and monasteries that became the visual embodiment of the Christian religion, architecture, mosaics, frescoes and altar paintings made by artists such as Cavallini, Torriti, Rusuti and others.
Renaissance Rome (15th and 16th centuries): masterpieces by Michelangelo, Raffaello and Bramante, visiting the churches and palaces where they are kept (such as the Vatican Basilica and Villa Farnesina, as well as new urban areas of the era, such as Piazza Campidoglio and Via Giulia.
Baroque Rome (17th and 18th centuries): the triumph of fancy fountains, palaces and churches built by Bernini and Borromini and their followers, Piazza Navona, Piazza Quirinale and Piazza di Spagna (Plaza di Spagna).
Rome the Capital (1870) and Rome under Fascism: an analysis of the period when Rome was transformed into a modern capital with spacious streets and squares. Later, under Mussolini, Rome regained its central role as a symbol classical culture: You will find confirmation of this when exploring the EUR area and Foro Italico.
Course program "History of Italian Art" in Siena
Course program "History of Italian Art" in Siena
Waiting for students an amusing trip into the world of classical art and acquaintance with the work of outstanding Italian artists, sculptors, architects who lived and worked in Siena, the pearl of Tuscany, where numerous masterpieces are carefully preserved today.
Classroom lessons are complemented by city walks and excursions
Course program:
Middle Ages
Romantic and gothic culture. Influence of France and Northern Europe. Religious and secular architecture: Florence, Siena, Pisa, Venice.
Churches and municipal buildings. Local examples of abbeys such as St. Antimo and St. Galgano.
Nicola and Giovanni Pisano, pulpits in Pisa, Siena, Pistoia: from antiquity to Gothic. Cimabue, Giotto, Duccio and fresco technique. Basilica of Saint Francesco in Assisi.
Siena painting XVI century
The period after Duccio: Simone Martini, the Lorenzetti brothers and the Florentine Renaissance.
The importance of the Siena school of painting in Italy.
Renaissance
Florence, XV century. Brunelleschi, Donatello, Masaccio, Jacopo della Quercia, brothers della Robbia. The grandiose buildings of the Baptistery and Duomo. Mastering perspective and artistic life in European cities. . La padronanza della prospettiva e la direzione artistica della città in Europa. Italian courts.
Examples of Renaissance Art
Italy: Mantova, Urbino, Milan, Pienza
Influence on art by the Pope and patrons of the arts. Growing fame of artists, sculptors, architects.
New techniques: canvas, oil, print. The geniuses of Michelangelo, Raffaello, Leognardo, Titian.
Antiquity and nature as a source of inspiration.
Mannerism
The crisis of the 17th century in architecture, sculpture and painting. Giorgio Vasari, Pontormo, Domenico Beccafumi, Giambologna.
Period High Renaissance represents the zenith of the Renaissance, the culmination of all this great culture. Its chronological extent is small and covers only about three decades. However, even in quantitative terms - in the sense of the abundance and large scale of art monuments created at this time, not to mention their highest artistic level and colossal historical significance, one could say about these decades that they are worth other centuries.
With the change in the scale of the world, the idea of the scale of man himself also changed: his real deeds and courageous exploits confirmed, if not surpassed, many of the predictions of humanists, their assessment of his capabilities. True, Italy could only spiritually contribute to this “discovery of the world” - the very practical implementation of this task, as well as the redistribution of this world, had already fallen to the lot of other states. Moreover, perhaps for no other European country Great results geographical discoveries The consequences were not as tragic as for Italy. But at the same time, it was Italy, of all the European countries, that turned out to be the most prepared to express all the complexity and gigantic scale historical existence of this era. Italian High Renaissance art was primarily an artistic expression historical reality Italy itself, but, as the highest embodiment of the culture of its time, it was also an expression of historical reality in a broader, global scope. In order to solve the problems put forward by the coming era, the type of artist itself had to change first of all, because the outlook of the artist of the 15th century, in its own way, social status And public worldview still largely associated with the artisan class, was too limited for this. The great masters of the 16th century gave an example of a new type of artist - active creative personality, free from the previous petty guild restrictions, possessing the fullness of artistic self-awareness and capable of making one take oneself into account powerful of the world this. These are people of enormous knowledge, possessing the entirety of the cultural achievements of their time.
The combination of difficult conditions of this historical period had an impact on the formation of the foundations of the Italian High Renaissance, on the formation of the figurative perception of its artists, on the visual structure of their works. Their images differ from the previous period - the art of the Quattrocento - primarily in their larger scale. Outwardly, this is manifested in the fact that, along with an incomparably greater distribution of works of large forms in architecture, painting and sculpture than in the 15th century, images of super-ordinary scales also appear, examples of which are Michelangelo’s “David” and his huge figures of prophets and sibyls in ceiling painting Sistine Chapel. The scale of the architectural and artistic ensembles themselves is also enlarging (the most famous among them are Bramante’s Belvedere, Raphael’s Vatican Stanzas, Sistine ceiling Michelangelo) and the sizes of individual painting compositions, frescoes and easels, especially altar images. But the new understanding of scale is not only about size - even small canvases Leonardo and Raphael are distinguished by a different, “larger” vision, when each image bears the imprint of special greatness. This quality is inextricably linked with another important feature of the art of the High Renaissance - generality artistic language. The ability to see the main thing, the main thing in everything, without being subject to particulars, is reflected both in the choice of topic and in plot construction, and in a clear and clear grouping of figures, in a generalized external and internal depiction of the heroes. The conscientious empiricism characteristic of many Quattrocentists was finally overcome; their pathos of analytical study of nature in all its details gave way to a powerful synthetic impulse, extracting their very essence from the phenomena of reality. The desire for synthesis, for generalization is already reflected in the fact that in the works of the masters of the High Renaissance, in contrast to the Quattrocento, the main place is occupied by collective image perfect wonderful person perfect physically and spiritually. But the Renaissance masters were least inclined to abstract normativity, to contrasting their creations with real reality. On the contrary, the ideality of images in their understanding meant the most concentrated expression of the qualities of reality itself. Not to mention the heroes of a brightly dramatic type - even in images filled with harmonious clarity, one can feel the enormous inner strength of a person, a calm consciousness of his significance. Combined with a large scale, these qualities give the images of the High Renaissance a truly titanic character, that degree of heroic effectiveness that the art of neither the early nor the late Renaissance never achieved.
Spanning only about three decades, the art of the High Renaissance is nevertheless very big way. It is precisely the special concentration of its evolution associated with the saturation of this historical stage events of decisive importance, explains the contrast between the somewhat more intimate harmonic images at the beginning of the period under review and the monumental dramatic images, already marked with the mark of insoluble conflicts, at its end. The extraordinary “density” of the art of the High Renaissance is reflected in the fact that it is unlikely that in the entire history of art one can find another example when, over the course of a short historical period, such a number worked simultaneously in one country. brilliant artists. It is enough to name such masters as Leonardo da Vinci, Raphael and Michelangelo in Florence and Rome, as Giovanni Bellini, Giorgione and Titian in Venice. Among smaller masters we find such illustrious names as the Parma painter Correggio, the Florentines Fra Bartolomeo and Andrea del Sarto, the Venetians Palma Vecchio and Lorenzo Lotto, who worked in Brescia Savoldo and Moretto, not to mention many lesser painters. The creativity of most of the named masters was revealed entirely or in its main part during the period under review; some of them, and above all Michelangelo and Titian, who lived a very long life, captured the subsequent artistic stage - the art of the late Renaissance.
Like the art of the High Renaissance itself, the theory of art of this time represents a summation on a new basis of the achievements of the 15th century and at the same time a new qualitative leap. Central location Leonardo da Vinci occupies here. His ideas, set out in the famous “Treatise on Painting” (the material for which was prepared mainly by 1498 and soon became widespread in copies), as well as in many of his other records, were a true encyclopedia of theoretical ideas and practical knowledge of its time. As for his predecessors, art and science are inseparable for Leonardo - these are two sides general process knowledge of nature. “And truly,” he says, “painting is a science and the legitimate daughter of nature, for it is generated by nature.” Nature is the “teacher of teachers,” and the painter must be her son. The subject of painting is the beauty of nature's creations. The most perfect creation of nature is man, and in Leonardo’s notes a number of sections are devoted to the study of the human body, the doctrine of proportions, information on anatomy, in the area of which Leonardo’s knowledge was amazingly deep. He then establishes the relationship between body movements, facial expressions and emotional state person. Leonardo pays a lot of attention to the problem of chiaroscuro, volumetric modeling, linear and aerial perspective. In the field of sculpture, Michelangelo expressed deep ideas regarding the relationship between the artistic image and material. He also put forward the idea of drawing as the formative basis of all three types of plastic arts - sculpture, painting and architecture. As before, issues of art theory remained closely connected with humanistic ideas. In the first decades of the 16th century Special attention in the sphere of humanistic thought, the problem of the perfect person was devoted. This topic was considered, on the one hand, in terms of the formation of a type of person, diversified physically and spiritually (as it was developed by Baldassare Castiglione in his treatise on the ideal courtier), on the other hand, in terms of analyzing the norms of beauty as applied to the physical beauty of a person (this side was developed by Firenzuola in his “Treatise on the Beauty of Women”).
The High Renaissance brought about important changes in the balance of local art schools in Italy. The cradle of this art, the place of its origin and the formation of its foundations was Florence. This is where the artists Leonardo, Michelangelo and Raphael began their journey or were formed. This was quite natural, since the art of a new stage could only arise on the soil of the most advanced of the Italian republics. But at the turn of the 15th and 16th centuries, Rome emerged as another leading center of the country. The fact that they were concentrated in Rome the best masters Italy, and the fact that the art of these masters appeared here in a certain new quality had its own specific reasons. It was indicated above that in their policies the rulers of the Papal States differed little from the secular rulers of Italian tyrannies and principalities. But at the same time, Rome was the spiritual capital of the entire Catholic world. It must be remembered that the borders of this world at that time were much wider than later, and extended to almost all of Western and Central Europe, since the reformation by the end of the 15th century had so far affected only a few countries. The expectation of a different, broader response should have introduced a larger scale into the creations of artists working in Rome than the scale of monuments in the communal centers of Italy. Therefore, no matter how monumental the municipal buildings and palaces of the richest families in Florence or Venice are, no matter how majestic the cathedrals in these cities are - the Papal Palace in the Vatican and the main temple of the Catholic world - St. Peter's Basilica - should have become even grander. It's about not so much about the very dimensions of individual buildings and artistic ensembles, but about the enlargement of the style itself, about the new “internal scale” of the works of the Roman Renaissance. This change in style took place in Rome all the more organically because here, as nowhere else in Italy, the ancient tradition retained its effectiveness. The ruins of ancient buildings filled the city; excavations revealed monuments to the world ancient sculpture. Needless to say, given the heightened sensitivity of Renaissance artists to everything ancient, any of their significant work in Eternal City was created in internal comparison with monuments of ancient art. The very idea of such a structure as the Cathedral of St. Peter, could only have arisen in a city where the Pantheon and the Colosseum were preserved.
But, although Rome was the center of world Catholicism, works of art, created here during the High Renaissance, were least of all carriers of a religious idea. The freedom of artists from religious oppression was explained, in addition to other factors common to the entire Renaissance era, also by the fact that public role art was exceptionally great in Italy, and patronage itself was therefore for that time one of the very effective forms of political struggle of the papal court to strengthen its authority. Essentially, it was papal Rome that gave the first example of widespread state “development” new culture in an authoritarian state, anticipating in some respects the artistic policies of the monarchs of major European powers. This is how a peculiar, almost paradoxical phenomenon arose: it was the papacy that provided its colossal financial and organizational capabilities for the expression of progressive humanistic ideas, essentially carrying within themselves the denial of reactionary clericalism. This situation could not last. The strength of the growing protest of the democratic strata in Italy itself, the reform movement in other countries forced the spiritual rulers of Europe to more clearly define their ideological positions, and by the end of the 20s of the 16th century, Papal Rome found itself at the head of the political and spiritual reaction. Accordingly, his artistic policy was restructured, from now on more and more decisively opposing the bright ideals of the Renaissance. Therefore, while noting the importance of Rome’s contribution to the art of the High Renaissance, it is necessary to emphasize once again that an equally important source for the formation of progressive social ideas, the most favorable environment for their emergence, remained Florence, which retained this position until 1530 - the year of the tragic the death of the Florentine Republic. Only in the dual unity of Florence and Rome, in an objective awareness of the actual role of each of these centers can the complex and controversial nature High Renaissance culture in Central Italy.
The late Renaissance period that replaced the High Renaissance carried a number of important qualitative differences from the previous stage. The middle and second half of the 16th century were a time of growing public reaction. The further decline of the Italian economy under the conditions of foreign domination, which spread to most of the country, was accompanied by the liquidation of previous social gains. Roman Catholicism responded to the reformation movement that unfolded in many European countries with a counter-reformation, which meant a sharp increase in church oppression. The long-term crisis gripped not only the states of Central Italy, groaning under the heel of Italian and foreign despots, but also affected Venice, which, although greatly weakened, nevertheless retained state independence, a considerable part of its enormous wealth and the splendor of its culture. This crisis also had a hard impact on art. The progressive humanistic ideology, which arose on the democratic basis of urban republics, was in many centers of the country supplanted by court culture, the centers for the formation of which were the courts of petty absolutist rulers. But even in these difficult conditions, the progressive artistic forces that represented the line of realistic Renaissance art of this period were by no means crushed. Venice became their main support. The same reasons that extended the High Renaissance here until the end of the 1530s contributed to the fruitful development of Venetian art of the late Renaissance. The names of Titian (in the late period of his activity), Veronese, Tintoretto, Bassano and the painters of Bergamo and Brescia testify to a new rise in the art of this part of Northern Italy. On the contrary, Tuscany and the Papal States (which included, in particular, Parma) were the main centers of another, essentially anti-Renaissance line, which was represented by the art of Mannerism. The loss of humanistic ideals, the departure from reality into the world of subjective experiences, dependence on reactionary court circles led to the fact that in mannerist art the feeling of disharmony, internal confusion, traits of subjectivist arbitrariness came to the fore - qualities that soon degenerate into the barren emptiness of pretentious and mannered images. Above the general mass of the masters of Central Italy suppressed by the artistic reaction, only one titanic figure rises - Michelangelo Buonarroti, who carried loyalty to lofty ethical ideals throughout his life. Having retained the fullness of his creative activity, he was able, in different historical conditions, to outline new paths in various types plastic arts - in architecture, sculpture, painting and graphics. His later creativity along with the art of Venetian masters, it constitutes another important layer of artistic culture of the late Renaissance.
Collateral creative success The progressive masters of the late Renaissance were not submissive adherence to the principles developed during the previous period of Renaissance art, but a deeply creative implementation of them in accordance with the requirements of the new historical stage. Having preserved the basis of the Renaissance worldview - faith in man, in his significance and beauty, they boldly invaded his spiritual world, revealing it in all its complexity and sometimes inconsistency. From the image individual they moved to the image of the human collective; They showed more widely and in detail the active relationship between the heroes and the real environment in which they act. Reality itself received a more specific embodiment in their works than in the ideally generalized images of the masters of the High Renaissance. According to these tasks, they developed new artistic media, new visual solutions.
It was precisely these qualities of the art of the late Renaissance that were especially historically promising, since they contained the initial formulation of many important principles of art of the subsequent 17th century. The art of the late phase of the Renaissance thus bears within itself the features of a transitional stage between two great artistic eras– Renaissance and 17th century. This transitivity is one of the reasons why the term “late Renaissance” is not as widespread in science as the terms “early” and “ High Renaissance" Moreover, in chronological terms, the end of the entire Renaissance era cannot be determined with sufficient clarity. One of the reasons for this is that in the second half of the 16th century a number of directions developed in mutual struggle. Even before last decades"The 16th century has completed its creative journey largest representatives of the late Renaissance - in the architecture of Palladio, and in the painting of Tintoretto - the first completed examples of works of the new style were created in Italy, which in their characteristics were already in line with the main trends of the 17th century. The construction of the Baroque façade of the Church of the Gesu in Rome dates back to 1575 (architect Giacomo della Porta), and by the 1590s the art of the founders of the Bologna Academy, the Carracci brothers, had developed. It should be remembered that in the same decades Mannerist artists continued their activities. But with all the complexity of the period of the late Renaissance, which begins in the 1530s and ends by the end of the century, it is still quite obvious that it is impossible to reduce it only to a transitional, intermediate stage. Undoubtedly, Italian art of the late Renaissance did not have the same general direction that, despite the numerous and ramified local schools, distinguished the art of the early and High Renaissance. It was during this period that, for the first time in world art, a sharp antagonism between progressive and reactionary movements in art emerged on such a large scale. But neither the long-term dominance of mannerism, nor the early formation of the foundations of baroque and academicism should obscure the fact that during the late phase of the Renaissance the leading role remained with the progressive line, represented by the names of Michelangelo, Palladio and the great Venetians and constituting the most valuable part artistic heritage of this Stage. In their art, both the Renaissance humanistic underlying basis is quite clearly expressed - even where it appears in a tragic refraction - and the continuity of the connection with the High Renaissance. The period of the late Renaissance in Italy is a logical and inseparable from the previous stages, a grandiose epilogue of the entire great era Renaissance.
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Moscow. Rainbow. 1990
Giulio Carlo Argan is a famous Italian art critic, one of the leading representatives of modern art criticism and art criticism. His fundamental work covers the history of Italian art, from antiquity and the Middle Ages to romanticism and futurism, although the main attention is, of course, paid to the masters of the Italian Renaissance.
PART ONE.
CHAPTER FIRST.
Origins.
CHAPTER TWO Aegean culture.
Minoan art.
Mycenaean art.
CHAPTER THREE Greek art.
Architecture.
Archaic sculpture.
Classical sculpture.
Hellenistic sculpture.
Urban planning and architecture.
Greek painting.
CHAPTER FOUR Ancient art in Italy.
Magna Graecia.
Etruscan art.
Architecture.
Painting.
Sculpture.
CHAPTER FIVE Ancient Roman art.
Architecture.
Monumental painting.
Painting.
Sculpture.
CHAPTER SIX Early Christian art.
Catacomb art.
The first basilicas.
Other centers of late antique culture: Milan and Ravenna.
The art of Byzantium and barbarian tribes in the Middle Ages.
The first manifestation of national Italian medieval fine art.
CHAPTER SEVEN Romanesque art.
Architecture of Northern Italy.
Central Italy.
Southern Italy and Sicily.
Sculpture.
Painting.
CHAPTER EIGHT Gothic art.
Gothic architecture.
Gothic architecture in Italy.
Late Gothic.
Civil Engineering.
Sculpture.
Painting.
PART TWO.
CHAPTER ONE Trecento.
Giotto.
Simone Martini.
Pietro and Ambrogio Lorenzetti.
Development of Trecento painting.
CHAPTER TWO International Gothic.
Late Gothic art in Italy.
CHAPTER THREE Quattrocento.
A new concept of nature and history.
Controversy with the Gothic.
Competition of 1401.
Second decade of the 15th century.
Dome of the Cathedral of Santa Maria del Fiore in Florence.
Three "Adorations of the Magi".
Brunelleschi-Donatello-Masaccio.
Other trends in artistic culture Tuscany.
Siena painting of the 15th century.
Artistic theory in the humanism of Leon Battista Alberti.
Development of Tuscan architecture.
Tuscan sculpture.
Theoretical and empirical space.
Synthesis of rational and ideal truths.
Main trends in painting in Florence in the second half of the 15th century.
Contradictory trends in late Quattrocento painting.
Leonardo's Florentine debut.
Fine arts in Central Italy.
Humanism in the fine arts of Northern Italy.
Squarcione School.
Ferrara Quattrocento painting.
Southern Italy: Antonello da Messina.
New art of Venice.
Myth and reality in the art of Vittore Carpaccio.
Architecture and sculpture of Venice.
Humanism in the fine arts of Lombardy.
Bramante and Leonardo in Milan.
