This document provides an overview of Renaissance architecture, art, and culture in Italy and its spread across Europe between the 15th and 16th centuries. It describes key developments and figures in Renaissance philosophy, art forms like painting and sculpture, and architectural styles. Major artists mentioned include Leonardo da Vinci, Michelangelo, Raphael, Botticelli, and how Renaissance ideals influenced architecture, art, and culture in other regions like Spain, Germany, and the Low Countries.

1. Materiales para casa
The Renaissance
(2º ESO)
Ángel Muñoz
Lola Ballesta
Colegio La Asunción
2020

2. 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

3. 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.

4. 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)
- Pinnacles (vases, balls…) DORIC, IONIC AND CORINTHIAN ORDER

5. 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

6. 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

7. 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…

8. 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

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

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

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

12. 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

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

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

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

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

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

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

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

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

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

22. 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

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

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

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

26. 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.

27. 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.

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

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

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

31. 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

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

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

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

35. 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.

36. 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.

37. Enjoy my
friends,
And have
fun!
ANIMUUUUUÚ