Renaissance art

“ For us the Renaissance is the name of a many-sided but yet united movement, in which the love of the things of the intellect and the imagination for their own sake, the desire for a more liberal and comely way of conceiving life, make themselves felt, urging those who experience this desire to search out first one and then another means of intellectual or imaginative enjoyment, and directing them not merely to the discovery of old and forgotten sources of this enjoyment, but to the divination of fresh sources thereof—new experiences, new subjects of poetry, new forms of art. ”

“ The ideal of humanism has thus been reinforced in a manner which brings back to us something of the spirit which animated the Renaissance when it was largest and most vigorous. For the enthusiasm of the Renaissance was nourished by the monuments of classical art scarcely less than by the masterpieces of literature. Each statue that was disinterred from Italian soil, every stone or coin or gem that could help to illustrate the past, became a source of delight to men whose strenuous aim was to apprehend classical antiquity as a whole. ”

“ Some parts of this original plenitude were indeed better forgotten, for the Old Masters who were young once, young and impecunious, turned Renaissance art into a fancy dress ball of their patrons, the Magnificent Ones figuring as saints and patriarchs, Bethlehem shepherds and Magian kings, whom oblivious time has done well to mellow into a quasi-anonymity. ”

“ This is one of the peculiarities of rudimentary art—of the art of the early Renaissance as well as of that of Persia and India, of Constantinople, of every peasant potter all through the world: that, not knowing very well its own aims, it fills its imperfect work with suggestion of all manner of things which it loves, and tries to gain in general pleasurableness what it loses in actual achievement; and lays hold of us, like fragments of verse, by suggestiveness, quite as much as by pictorial realisation. ”

“ How then do matters stand between art and civilisation? Here follows my hypothesis. There is in the history of every art (and for brevity's sake, I include in this term every distinct category, say, renaissance sculpture as distinguished from antique, of the same art) a moment when, for one reason or other, that art begins to come to the fore, to bestir itself. ”

“ But it is not so much the ecclesiastical art of the middle age, its sculpture and painting—work certainly done in a great measure for pleasure's sake, in which even a secular, a rebellious spirit often betrays itself—but rather the profane poetry of the middle age, the poetry of Provence, and the magnificent after-growth of that poetry in Italy and France, which those French writers have in view, when they speak of this Renaissance within the middle age. ”

“ Then came the time which is called 'The Renaissance,' a word which means being born again, or a new awakening, when men began to draw real pictures of real things and fill the world with images of beauty. ”

“ In reality, however, he was perpetually comparing the two, and always to the disadvantage of the moderns. It is possible in our day to judge justly the comparative merits of antique sculpture and of that of the early Renaissance; or rather to appreciate them as two separate sorts of art, delightful in quite different ways, letting ourselves be charmed not more by the actual beauty of form, and nobility of movement of the one than by the simplicity, the very homeliness, the essentially human quality of the other. ”

“ We have, however, abundant proof that the sacred fire of the love of Art and Letters was smouldering in France, Germany, and England—and when the inspiring breath of the Renaissance was wafted beyond the Alps a flame burst forth which has burned clearer and brighter with succeeding centuries. ”

“ The Renaissance period really was born out of the mediaeval centuries; the legends and influence of early Christian teaching, going on through the Dark Ages almost unnoticed, furnished incentive and motifs for the world's most renowned painters of the fourteenth and fifteenth centuries, giving striking examples of the evolution of art. ”

“ One cannot fix a term to day or night, and the theory of the Renaissance as a kind of tropical dawn—a sudden passage to light from darkness—is not to be considered. The Renaissance was, and was the result of, a numerous and various series of events which followed and accompanied one another from the fourteenth to the beginning of the sixteenth centuries. First and most immediate in its influence on art and literature and thought, was the rediscovery of the ancient literatures. ”

“ The Fine Arts of the Renaissance are in part a reflection of this decadent art of classic antiquity, and in part an expression of something quite different which was peculiar to the Italian genius at this time. To the man of the Renaissance the classic inspiration was necessarily different from what it had been to the man of antiquity. ”

“ But inasmuch as the innovations were founded on some of the most beautiful examples of art, and headed by some of the greatest men that the world ever saw, and as the Gothic with which they interfered was corrupt and valueless, the first appearance of the Renaissance feeling had the appearance of a healthy movement. ”

“ During the Middle Ages, Art generally followed the inspirations of that Christian spirit which presided at the formation of this new world. It arose to reproduce in an admirable manner the religious ideal. Only towards the end of that period it searched out for beauty of form, and began to find it when the Renaissance made its appearance: the Renaissance, that is, the intellectual revolution, which, in the fifteenth and sixteenth centuries, restored among modern nations the sceptre to Literature and the Arts of antiquity. ”

“ So much for the history of the Renaissance and the good it can be to us. Now as to the art. That more organic mode of feeling and thinking which results in active maturity, from the ever-increasing connections between our individual soul and the surrounding world; that same intuition which told us that historic evil was no subject for contemplation, does also admonish us never to be suspicious of true beauty, of thoroughly delightful art. Nay, beauty and art in any case ”

“ There, as I said, is the strength of the old French story. For the Renaissance has not only the sweetness which it derives from the classical world, but also that curious strength of which there are great resources in the true middle age. ”

“ Then an art arises greater even than that of the eras of tradition. The pathos of the dying and the inexpressible hope of the newly born find expression side by side; all chains are broken, and the world appears suddenly to be immeasurable. Is this what happened at the Renaissance? ”

“ At the end of the Renaissance there was the flowering of a great plastic art; at that time when life renewed itself, when there was a revealment of the secret of faces, and a great vital movement was in the state of growth. ”

“ The Renaissance changed all that. The lord entered the new world of ideas and refined sensuality; the peasant stayed where he was, or, as the last vestiges of spiritual religion began to disappear with the commons, sank lower. Popular art changed so gradually that in the late fifteenth and in the sixteenth century we still find, in remote corners, things that are rude but profoundly moving. ”

“ That is why poetry, though it has its raptures, does not transport us to that remote aesthetic beatitude in which, freed from humanity, we are up-stayed by musical and pure visual form.
The Classical Renaissance was a new reading of human life, and what it added to the emotional capital of Europe was a new sense of the excitingness of human affairs. If the men and women of the Renaissance were moved by Art and Nature, that was because in Art and Nature they saw their own reflections. The Classical Renaissance was not a re-birth but a re-discovery ”

“ For him the problem came to be:—Can the blitheness and universality of the antique ideal be communicated to artistic productions, which shall contain the fulness of the experience of the modern world? We have seen that the development of the various forms of art has corresponded to the development of the thoughts of man concerning humanity, to the growing revelation of the mind to itself. Sculpture corresponds to the unperplexed, emphatic outlines of Hellenic humanism; painting to the mystic depth and intricacy of the middle age; music and poetry have their fortune in the modern world. ”

“ The age that has bequeathed us Romanesque, Lombardic, and Norman architecture gives no sign of dissolution. We are still on the level heights of the Christian Renaissance. Artists are still primitive. Men still feel the significance of form sufficiently to create it copiously. Increased wealth purchases increased leisure, and some of that leisure is devoted to the creation of art. ”

“ The history of art has suffered as much as any history by trenchant and absolute divisions. Pagan and Christian art are sometimes harshly opposed, and the Renaissance is represented as a fashion which set in at a definite period. That is the superficial view: the deeper view is that which preserves the identity of European culture. ”

“ FRENCH SCHOOL. XVIth CENTURY.
(Comp. Dürer's title to Plutarch, 1513, and St. Ambrosius, 1520.)
THE RENAISSANCE.
What was at first an inspiriting, imaginative, and refining influence in art became finally a destructive force. The youthful spirit of the early Renaissance became clouded and oppressed, and finally crushed with a weight of pompous pedantry and affectation. The natural development of a living style in art became arrested, and authority, and an endeavour to imitate the antique, took its place. ”

“ Through the instrumentality of art, and of all the ideas which art introduced into daily life, the Renaissance wrought for the modern world a real resurrection of the body which, since the destruction of the pagan civilization, had lain swathed up in hair-shirts and cerements within the tomb of the mediæval cloister. ”

“ High above these two classes, however, stand a few gifted beings who seem to have actually imbibed the artistic qualities of Renaissance art to such an extent as to have attained a new and genuine personality—modern in date but old and faithful to the past in creative conception.182 In this case, imitation becoming creative, as we have said, it rises to the rank of real art. ”

“ During the XV century, Renaissance art began to spread from Italy to other European countries. Late Gothic art could not withstand its bewitchment, and in the XVI century, European art yielded almost without reserve to the ascendancy of the Renaissance style. ”

“ CHAPTER III. Applicability is the most useful characteristic of the style popularly known as the Renaissance; it is confined to no one branch of art, but is capable of extension to all, from the most delicate work of the jeweller to the boldest scroll-ornament adopted by the sculptor in wood or stone. The Loggie of the Vatican is the best original example of the style as perfected by Raffaelle and his scholars, and applied to wall-painting. ”

“ We learned, then, that Renaissance was not a man; that renaissance was a term used to signify what was at best but an imperfect rejuvenation of art. The guide said that after Titian’s time and the time of the other great names we had grown so familiar with, high art declined; then it partially rose again—an inferior sort of painters sprang up, and these shabby pictures were the work of their hands. ”

“ Renaissance, the name given to the revolution in literature and art in Europe during the 15th and 16th centuries, caused by the revival of the study of ancient models in the literature and art of Greece and Rome, especially the former, and to the awakening in the cultured classes of the free and broad humanity that inspired them, an epoch which marks the transition from the rigid formality of mediæval to the enlightened freedom of modern times. ”

“ Until we understand more or less completely how in the dim centuries of the later Empire and early middle age the great transformation of Græco-Roman into mediæval art was accomplished, we cannot quite understand the Renaissance itself, nor even the form which the whole modern art of Europe has come in the course of centuries to assume. ”

“ The word Renaissance, indeed, is now generally used to denote not merely that revival of classical antiquity which took place in the fifteenth century, and to which the word was first applied, but a whole complex movement, of which that revival of classical antiquity was but one element or symptom. ”