god-centered to man-centered

454656
2:15 Class
Question 2
1371 Words
Midterm Exam 2 Part 2

From God-Centered World to Man-Centered World

There were many shifts that occurred in values and ideals from the 1400s to the 1600s in Europe. The greatest was the shift from the God-centered themes and thoughts held by the people and portrayed in the arts to the Man-centered themes and ideals that evolved in the centuries that followed. This change can be seen in the depiction of religion and people in artwork from the 1400s to the 1600s or from the Second Age to the Third Age.
In the years before 1400, art in Europe focused mainly on glorifying Christianity. This was done through the heavy use of the color gold, portraying religious figures with halos and vibrant robes, and the use of intricate designs. One example of this is the Annunciation altarpiece made by Simone Martini in 1333 in Italy. The mantle of the altarpiece alone is impressive. It has several pointed arches with molded designs and is entirely gold. The background of the altarpiece is also a vibrant gold, which envelopes the figures in light. The central figures are that of the angel Gabriel, who is dressed in gold robes, and the Virgin Mary, who is adorned with a crown and a robe of deep blue. The angel Gabriel addresses the Virgin Mary, who in turn draws back in modesty while sitting on a throne. On the left and right panels of the altarpiece stand Saint Ansanus and Saint Margaret staring forward at the viewer. Each figure has a golden halo that seems to emulate outward like the rays of the sun. All of these characteristics create a sense of majesty and grandeur that any common citizen of that time would have revered and respected with great admiration.
Religious themes were also common in literature of that era. For example Dante’s Inferno tells of a group of men who travel further and further into the different levels of Hell. There the main character sees many monsters and beasts that hover around while people who have sinned burn in the surrounding fire. Dante describes one particular monster called Fraud, saying “His face was innocent of every guile, benign and just in feature and expression; and under its body was half reptile. His two paws were hairy to the armpits; all his back and breast and both his flanks were figured with bright knots and subtle circlets.” Included in his vivid imagery are references to several Florentine families such as the Scrovegni’s. He also mentioned sinners who were “usurers” or the “violent against art”. People who read this during that era would have felt fearful of going to Hell and therefore would have turned towards a more righteous path to Heaven- or at least that was Dante’s goal.
During the Second Age , art continued to maintain its connection to religion. However, it also started to incorporate mathematics, Classical influence, and more depth. In Masaccio’s Holy Trinity made in 1428 in Florence, Italy, a religious scene is presented using new forms of perspective and a more modern style. The center of the fresco shows a crucified Christ. Behind him stands the figure of God reaching out to hold the arms of the cross. The two figures are connected by a white dove around God’s neck that symbolizes the Holy Spirit. To the left of the cross is the Virgin Mary, who reaches out her hand and gazes outward towards the viewer. On the right of the cross is the figure of Saint John who prays looking towards the Virgin and Christ. These figures are all held under a structure similar to that of a triumphal arch. The painting draws you further in with the use of perspective through a barrel vault that gives the painting greater depth. The arch is also supported by Corinthian and Ionic pillars like those of ancient Rome. Outside the arch are the figures of the patrons – Lorenzo Lenzi and his wife- kneeling in prayer and shown in profile. At the bottom of the fresco there is an altar with skeletal remains and the words “I was once what you are, and what I am you will become”. Although this fresco has a religious message and iconography, the details within the painting focus less on glorifying religion and more on achieving naturalism through the use of mathematics and perspective. The colors used in the painting also recede from the past by using faded colors of blue, red, white, and gray which gives more depth and tone to the painting. The values of the Second Age focused less on religion and more on achieving more depth and organization in paintings.
The Third Age or “High Renaissance” brought about an even greater change from the God-centered world to the Man-centered world. Perfection in art was the ultimate goal, and many artists achieved it by studying nature and creating a greater sense of life and individuality in paintings. One of the greatest artists at this time, Raphael demonstrated his abilities by painting Count Baldassare Castiglione in 1514 in Italy. Baldassare Castiglione wrote a handbook at this time called The Book of the Courtier. In it, the Count discussed the values expected in a courtier. For example a courtier should be athletic, well educated and knowledgeable of art, modest, respectable, graceful, and talented. When asked how to achieve these attributes, Baldassare writes : “But, having thought many times already about how this grace is acquired (leaving aside those who have it from the stars), I have found quite a universal rule which in this matter seems to me valid above all others, and in all human affairs whether in word or deed : and it is to avoid affectation in every way possible as though it were some very rough and dangerous reef; and (to pronounce as new word perhaps) to practice in all things a certain sprezzatura [non-chalance], so as to conceal all art and make whatever is done or said appear to be without effort and almost without any thought about it”. So in other words, a courtier had to great at all things but make them appear easy and natural. In Raphael’s painting of Baldassare Castiglione, he appears humble and thoughtful. Baldassare is seated and looks directly at the viewer with an air of grace and sophistication. He is dressed in a black and gray garb, with a black hat on his head. The background behind him is gray, making all the colors appear neutral. His dress and demeanor contrast greatly to the lavish robes and jewelry worn by previous nobles. Although he is not adorned with vibrant robes, he still maintains a sense of wealth and nobility. Castiglione’s modesty and simple grace reflect the ideals he wrote about in his book. It also shows the shift in focus from religion to individual appearance and character.
By the late 1600s, art focused mostly on color, composition, and individualism. Although religious themes were still depicted in some paintings, they were no longer the primary focus in art. In Venice, Italy especially there was a greater sense of openness to outside worlds and influences. Titian’s oil painting of Venus of Urbino from 1538 reflects the ideals of ease and openness in Venice at that time. The “Venus”, who was probably a courtesan, was painted for Guidobaldo II and depicts a woman reclining on a bed of white silk and vibrant red fabric. The Venus stares welcomingly at the viewer while holding some flowers in her right hand. In the background her maids look through a chest for her clothes while a dog symbolizing fidelity sleeps at the end of the bed. The soft edges and vibrant colors create an atmosphere of naturalism and sensuality. The painting has stepped from the God-centered world and is now reclining on a bed in the Man-centered world.
The change in values from religion to self-interest occurred gradually over the centuries following the 1400s. Because of this shift, artists were able to focus more on artistic techniques such as depth, perspective, and composition. The shift led to some of the greatest paintings of all time by some of the greatest artists of all time.