Expression of Renaissance Ideals throught the Art of the Period :: European Europe History

Expression of reincarnation Ideals throught the Art of the PeriodThe humanistic and secularist beliefs of religion, individuality, and antiquity were evident in the style and illustration of Italian paintings and sculptures in the High Renaissance era. A deep sense of piety, Greek and papistic philosophy, and secularism, can be found in nearly every last(predicate) Renaissance paintings and sculptures, and the school of thought in Renaissance society that regarded the artist as genius contributed to all of these items. Historically, religion is the defining factor of nearly all paintings in modern and medieval European history. The farthermost Supper by Leonardo, The take of Athens by Raphael, Michelangelos huge sculpture of the ancient Hebrew pouf David, Giottos paintings of the Virgin Mary and Saint Francis of Assisi, and Masaccios The Holy Trinity serve as an infinitesimally small sample of the vast selection of religiously inspired paintings, frescos, sculptures, and archit ectural endeavors created by Renaissance artists. The School of Athens by Raphael is an artistic imitation of the beliefs and interpretations of the Renaissance humanist philosophers much(prenominal) as Petrarch and Drusus. Great classical mathematicians such as Pythagoras stand under the statue of the Greek goddess of reason, Athena, while intellectuals such as Socrates teach on the right, under the statue of the Greek patron of poetry, Apollo. This fresco too illustrates the live onence of an intellectual community of painters, sculptors, and leaders such as Michelangelo and Leonardo, who exist in the painting as Greek philosopher Heraclitus and Plato, respectively. This select group of individuals was in fact the majority of the thinking power of the Italian Renaissance. Leonardo da Vinci represents most strongly the secularist style in Renaissance art. His painting of The Last Supper shows the very strained emotions of Jesus apostles when he informs them that he is to be bet rayed. The lines of emotion and the expressions on the apostles faces clearly depict the secularist real, the non-exaggerative, worldly style of secularism exhibited through the writings of Boccaccio and Lorenzo Valla. Michelangelos noggin for Saint Peters Basilica and the roof of the Sistine Chapel display the secularist attitude the papistical Catholic Church adopted in the late fifteenth and one-sixteenth centuries. The fact that the Catholic Church, the wealthiest institution in the world, sponsored this art shows the elitist status that artists must(prenominal) have assumed in the Renaissance, and how the church supported the belief that the authorise of God worked through the hands of the artists.