The document summarizes key cultural changes in Europe between 1450-1600. The Renaissance led to a revival of classical ideas centered on humanism, individualism, and secularism. This was reflected in philosophy, art, architecture, and a questioning of religious authority. The Protestant Reformation began as a reaction against Catholic Church abuses and further fragmented religious unity. Martin Luther and John Calvin established new Protestant traditions, while the Council of Trento reinforced Catholic doctrine. The printing press accelerated the spread of new ideas.

1. LOS CAMBIOS CULTURALES (1450-1600)
El ser humano y no Dios
se pone en el centro de
la reflexión filosófica:
FILOSOFÍA:
HUMANISMO
ARTE:
RENACIMIENTO
RELIGIÓN:
REFORMA
Recuperación de
la cultura clásica:
Ruptura de la
unidad
religiosa en Europa
LEONARDO,
MIGUEL ANGEL,
BOTICELLI
LUTERO
CALVINO
TRENTO
ERASMO
LUIS VIVES
MIRANDOLLA

2. The Renaissance
• It began in Italy in the 15th century
and spread through Europe.
• It was based on the revival of the
classical heritage: ideal beauty,
proportion and harmony
• It was both religious and civil, with
popes, kings and rich families as
the main patrons.

3. The Renaissance: architecture
• Buildings were designed on a
human scale.
• Proportion and harmony.
• Churches, squares, palaces,
townhalls were built in this
stye.
• Features from Greece and
Rome:
- Dome (cúpula)
- Roman arch, square windows.
- Pilasters (pilastras)
- pediment (frontón)
- Frieze, columns and capitals.
- Roundels (medallones)
- Scrollwork (volutas) DORIC, IONIC AND CORINTHIAN ORDER

4. The Renaissance: architecture
The Quatroccento (15th century):
BRUNELESCHI: Santa Maria de las Flores (1446)
BATTISTA ALBERTI: Santa María Novella (Florencia, 1456)
The cinquecento (16th century):
BRAMANTE: Vatican.
MIGUEL ANGEL: Saint Peter’s dome (Vatican)
PALLADIO: Villa Rotonda (Venecia)
Bruneleschi
Mr. Miguel Angel

5. Italian Renaissance: Quattrocento.
DOME
ROUND ARCHS
NOT SO VERTICAL,
UNLIKE THE GOTHIC:
GEOMETRICAL
DECORATION
USE OF
MARBLE
“OCULOS”
(Rose window)
Cupole
LINTERNA
BRUNELLESCHI
Florence cathedral
Santa María de las Flores

6. Italian Renaissance: Quattrocento.
NOT SO VERTICAL,
UNLIKE THE GOTHIC:
GEOMETRICAL
DECORATION
USE OF MARBLE
BATTISTA ALBERTI
Santa Maria Novella
Façade (1456)
PEDIMENT
FRIEZE
OCULO
(ROSE WINDOW)
SCROLLWORK
COLUMNS,
CAPITALS,
ROUND
ARCHES…

7. Italian Renaissance: Cinquecento.
DOME
ROUND ARCHS
PEDIMENTS
FRIEZE
CORINTHIAN
CAPITALS &
COLUMS
Vegetal
decoration
Cupole
LINTERNA
MICHELANGELO
Saint Peter’s cathedral
PILASTERS
volutas
Square
windows
DORIC
ORDER
Detached
Human
sculptures

8. Italian
Renaissance:
Cinquecento
Stairs
“ Tambor”
Balustrade
BRAMANTE:
San Pietro in
Montorio
(early 16th century,
Very austere,
DORIC order)
Built in marble.
Religious purposes.
Pilasters

9. Italian Renaissance: Cinquecento
PALLADIO:
Villa rotonda
(Civil architecture)
Horizontality
Austerity
IONIC
ORDER

10. Italian Renaissance sculpture
DONATELLO
David
(Quattrocento)
Bronze
Importance
Of human body
Proportion
Ideal beauty
Serenity
Technical skills MICHELANGELO
David
(Cinquecento)
Marble

11. Renaissance: painting
MAIN FEATURES: High skilled techniques. Ideal beauty. Perspective, depth,
symmetry in the composition. Esfumato, scorzo.
QUATROCCENTO:
Boticelli: The birth of Venus
Perugino: Christ gives the keys to Saint Peter.
CINQUECENTO:
Leonardo: Gioconda, Virgin of the Rocks, Last Supper.
Rafael: The school of Athens. (Vatican, 1510)
Miguel Angel: Sixtine chapel.
Boticelli
The Great
Leonardo

12. Italian Renaissance: Painting
BOTICELLI: THE BIRTH OF VENUS
Mithological theme
Ideal beauty. Naked bodies.
Drawing prevails over painting

13. Italian Renaissance: painting.
Perugino (1482):
Christ giving the keys
To Saint Peter

14. Italian Renaissance: painting.
Perugino (1482):
Study of perspective
and simmetry.

15. Italian Renaissance: painting.
Ideal beauty
Serenity Depth, perspective
and scorzo
Classical
architecture
Religious
topic

16. Italian Renaissance: painting.
RAPHAEL:
The Athens
School.
Ancient Greece
opic

17. Italian Renaissance: painting.
RAPHAEL:
The Athens
School.
Ancient Greece
opic
Plato Aristotle

18. Rafael
plasmaba
serenidad en
su autoretrato
Y Leonardo usa
la técnica del
esfumato…
Italian Renaissance: painting
Leonardo da Vinci: Gioconda

19. Italian Renaissance: painting
Leonardo da Vinci: Gioconda
LEONARDO: The Last Supper
(La última Cena) 1497

20. Italian Renaissance: painting
Miguel Ángel (16th century).
Sixtine. Vatican.

21. Renaissance in SPAIN
ARCHITECTURE
• Plateresque (plateresco) ½ 16th century.
Ornamental style (Renaissance decoration, Gothic
structures): University of Salamanca (main façade).
• Classical (purismo) 2/3 16th century
Italian and classical influence: Carlos V palace.
• Herrerian (herreriano) 3/3 16th century- 1/3 17th cent.:
Very austere and enormous. El Escorial. Plaza mayor Madrid.
SCULPTURE AND PAINTING:
Juan de Juni and Berruguete.
El Greco

22. Spanish Renaissance: Plateresco style
Decorative style. Gothic structure, Renaissance decoration.
½ 16th century. University of Salamanca.

23. Spanish Renaissance: Purismo.
Classical stage:
16th century.
Carlos V palace
Granada.
Harmony, equilibrium
Classical influence.

24. Renaissance style: herreriano
Second half of 16th century. Very austere and big proportions: El Escorial

25. El GRECO
Spain - 16th century
El entierro del conde
Orgaz.
¿Temática? Religiosa
Leyenda del milagro
del conde Orgaz: el
Cielo se abre y San Agustín
Y San Esteban lo entierran,
Mientras el cielo se abre.
Técnica:
Composición en forma de retablo
Para el altar de una iglesia.
Colores oscuros en la parte
Inferior del cuadro (tierra)
Frente a otros más irreales en
La parte superior (cielo). Figuras
Alargadas, que se alejan del
Renacimiento típico.

26. DISTRIBUCIÓN Y
ESTRUCTURA DEL
CUADRO
El cuerpo se divide en una
parte superior y otra
inferior (cielo y tierra) e
igualmente existe una
línea ascendente, que se
levanta desde la escena
del enterramiento del
conde hasta Jesucristo
resucitado, con Juan
Bautista y la virgen María
a ambos lados.
La presencia del
Hijo del Greco,
Apuntando con la
mano hacia el
Conde, quiere dar
importancia al
milagro para que el
espectador sepa
Donde concentrar
la atención.

27. El Greco
Cristo Salvador
(museo las Veletas, Cáceres)
Self portrait - autoretrato

28. Renaissance in Europe
ARCHTECTURE:
French palaces. Chateau de Chambord.
PAINTING:
• Germany: Durero
• Low countries: Bosch (El Bosco), Brueghel.

29. Renaissance painting: El Bosco
El Bosco: El jardín de las delicias. Surrealism . 16th century, Low Countries

30. The Earthy delights
1.The paradise. Creation of
Adan and Eve.
2.The decadence: the animal
parade.
3.The fall: punishment
(pleasure becomes pain)
The decadence: The animal parade

31. El jardín de las Delicias earthy delights
Details: the fall from Paradise.
Sins (pecados, gula, lujuria…)
Small details.
Sexual references.
Oniric (dreams).
Not realistic.

32. The earthy delights: Hell.
Pleasure gives pain.

33. Brueghel, el triunfo de la muerte
2/2 16th century, Low countries

34. Death´s Triumph
Detalls. It is not only a
medieval topic (the Black
Death) but it is also a
reference to the Spanish
domination in the Low
Countries.

35. DURERO
(16th century,
Germany)
Self-portrait
Much more realistic than
Italian painters. He is not
Looking for the ideal beauty
Young Jesus among the doctors.

36. With the humanism, there
is an increasing number
of critics against the
Catholic Church
Erasmo de Rotterdam
Is highly critical with the
“false religion”: he inspired
a more personal and spiritual
faith.
Tomás Moro, chancellor of England
THE REFORMATION (16th Century)

37. In the 16th century,
indulgences were
Sold, in order to build
A new cathedral in Rome.
If you pay money to the
Church, your dead relatives
will go directly to Heaven.
This was outrageous for the
Most of the humanists like
Erasmo of Rotterdam.
“When the coin enters in the box, a soul
Is leaving the purgatory and rises to God’s kingdom”
THE REFORMATION (16th Century)

38. In 1516, a monk and
University teacher of
Wittgenberg, Martin
Luther decided to
break with the church
because of the
indulgences abuses.
Luther is compelled to express his
Ideas in the Imperial diet, with the
Emperor Charles the Fifth. He won’t
Deny his new ideas and his critics
Against the Catholic Church.
THE REFORMATION (16th Century)

39. The Catholicism of the Emperor
Charles V, moves Luther to be more
radical in his ideas. He is condemned
as heretic, and sentenced to
Death. However, he escapes and
burns the pope’s
Letter of excomunication.
Luther , translating the Bible into German.
THE REFORMATION (16th Century)

40. THE LUTHERAN PRECEPTS
- People can make a free interpretation of the
Bible.
- The Pope is not a true representative of God
in Earth.
- Only two sacraments are legitimate.
- Faith, and not good works, will save. If you
don’t have faith, good works don’t count.
THE REFORMATION (16th Century)

41. Calvin
Henry VIII
Trento
council

42. The humanism
PRINTING
PRESS
(Guttenberg,
1440)
CONSEQUENCES?

43. The humanism
PRINTING
PRESS
(Guttenberg,
1440)
CONSEQUENCES?
More quantity
Cheaper books
More diversity
Faster and wider…

44. The humanism
PRINTING
PRESS
(Guttenberg,
1440)
CONSEQUENCES
More quantity
Cheaper books
More diversity
Faster and wider…
importance

45. The humanism
PRINTING
PRESS
(Guttenberg,
1440)
CONSEQUENCES
More quantity
Cheaper books
More diversity
Faster and wider…
Importance
More books are
available
Not only rich
people will read
Not only
religious books
Ideas will
spread faster