'Humanism and the Renaissance Essay\r'

'Founded on the ideals of Italian scholar and poet Francesco Petrarca during the late fourteenth speed of light, metempsychosis humanism centered itself on humanity’s potential for effect. Although God is credited for creating the universe, human beings be the wizards credited for developing and sustaining it. The shift was away from grounds the world through faith and towards a broader able and scientific understanding of it. A humanist, in this context, was solely a teacher whose curriculum focused on the liberal blinds.\r\nBy the mid-fifteenth century, this curriculum evolved to include rhetoric, grammar, poetry, storey and moral philosophy (or ethics). Together these individual disciplines comprised the center of attention of humanistic studies. But the ideas introduced were not altogether new. Humanists relied on primary sources such as the classical lit of Greece and Rome. What is remarkable, however, are the great lengths to which the movement sought to withh old and reintroduce old ideas to the present times.\r\nIt is remarkable when considering that later the fall of Rome in the fifth century much of the texts housing ideas central to humanistic aspect were virtually lost or buried in obscurity. Ancient ideas within these classical texts were considered crucial because humanists considered the past world the pinnacle of human achievement and impression its human accomplishments should serve as the model for modern Europe. After the fall of Rome, human progress and achievement slowed to a trickle.\r\nWestern civilization became mired in a period of cultural decline that the metempsychosis estimation considered a â€Å"dark age” in human history. The only way out was a return to the ideas propelling the ancient world forward. It was, in essence, a trip back to the future. Humanism deeply affected the artistic community and how artists themselves were perceived. The medieval mind viewed artists as humble servants whose talen t and ability were meant to award God. This is evident in the spurt of medieval artists adorning churches and cathedrals.\r\n renascence artists, in contrast, were trained intellectuals †swell up versed in the classics and mathematical principles. And the art that they created reflected this newfound perspective. The Renaissance in like manner gave birth to a new class in the social order †the merchandiser class which near resembles what we now refer to as the middle class. And this merchant class had the means to commission an artist’s services. This dramatically expanded the sources of disdain (i. e. financial support) as well as the themes an artist could consider.\r\nNo retentive-acting was patronage a luxury only the gentry could afford. And no longer were commissions relegated primarily to religious considerations. enlightened citizens with the means to afford it considered artistic patronage an burning(prenominal) activity. And with expanded parti cipation, new kinds of art were introduced into the Renaissance landscape. blueish patrons often commissioned portraits. But much of the art commissioned at the time was at the patronage of the merchant class.\r\nThis art was primarily secular in nature †including mythological subject matter †and grace the halls and rooms of t knowledge homes and country villas. Citizens such as Cosimo de’ Medici were civic minded and supported notable worthy causes. De’ Medici supported libraries, for example. He also had a rawness for the work of the artist Donatello and an interest in unite Plato’s ideals with Christian philosophy in an driving to demonstrate how heart’s ghostlike aspects bear overcome physical limitations (leading to a revival of Neo-Platonism).\r\nCosimo’s grandson †Lorenzo the Magnificent †was an avid art collector and help to a young Michelangelo. This underscored the benefit of associating intellectual pursuits with the resources to chase them. It cast a wide social scratch along with establishing a thriving market wander for creativity. One work of art that embodies the ideal of the azoic Italian Renaissance is Donatello’s â€Å"Penitent Magdalene. ” The work was commissioned between the late 1430s and 1450s. It is a lifesize polychromed wood sculpture.\r\nThe contrapposto positioning (one leg bearing cant over with the other relaxed) is a reference to classic classic style. The work presents Mary Magdalene as a likable figure who has paid her dues in life. It is an emotionally piteous piece. Once a prostitute, Mary evolved to become one of saviour Christ’s most dear(p) followers and trusted confidants. She was the first person to whom Jesus appeared after the Crucifixion. Afterwards, however, she lived her life in perpetual repentance and self-imposed suffering to atone for the sins in life she committed.\r\nThe sculpture presents Mary as old and weak wi th few hints of her long lost and forgotten beauty. What does perch to remind us that this was once a unfaltering and beautiful presence to behold is a full-strength bone structure, the contrapposto pose and long hair. But the dread hands raised as if in supplicant 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 woman’s story, but our own sense of humanity and what we may aspire to.\r\n'