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What the Renaissance was and why it still matters: Renaissance Primer (1 of 2)

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Running head: WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 1

What the Renaissance was and why it still matters: Renaissance Primer (1 of 2)

Peter J. C. K. Gisbey

Post-Doctoral Scholar-Practitioner

This research paper is copyright of the author and/or third parties. The intellectual

property rights of the author or third parties in respect of this work are as defined by The

Copyright Designs and Patents Act 1988 or as modified by any successor legislation.

Any use made of information contained in this thesis/dissertation must be in accordance

with that legislation and must be properly acknowledged.

Further distribution or reproduction in any format is prohibited without the permission

of the copyright holder.

2019
WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 2

Declaration

I hereby declare that this submission is my own work and that, to the best of my

knowledge and belief, it contains no material previously published or written by another person

nor material which to a substantial extent has been accepted for the award of any degree or

diploma of a university or other institute of higher learning, except where due acknowledgment

has been made in the text.

Date: 10th June 2019

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 3

Dedication

To God, my Heavenly Father, for inspiring me to write this scholarly discourse, once again using

my modest talents. Thank you and bless you! Amen!!

To Jesus, my Saviour and Lord, for giving me the heart, soul, strength, health and

companionship needed along the way. Thank you and bless you! Amen!!

To the Holy Spirit, my Comforter, for being with me always, through good times and bad times,

and for reminding me that you love me. Thank you and bless you! Amen!!

“The fruit of the Spirit is love, joy, peace, longsuffering, gentleness, goodness, faith, meekness,

temperance: against such, there is no law.” – Holy Bible, Galatians 5:22

**

“Do not be anxious about anything, but in every situation, by prayer and petition, with

thanksgiving, present your requests to God. And the peace of God, which transcends all

understanding, will guard your hearts and your minds in Christ Jesus.” – Holy Bible, Philippians

4:6-7

***
WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 4

Foreword

This work is inspired by my longstanding interest in European Art History. Specifically,

it concerns Western Europe during the epochal Renaissance period.

What is the Renaissance? Why was the Renaissance important? Does the Renaissance

still matter? If the Renaissance still matters, to what extent is this the case?

Such questions lie at the heart of this relatively short research paper, which substantively

takes the form of an extended literature review, along with relevant critical commentary, feeding

through to further discussions and conclusions.

Bless you, my Heavenly Father. Bless you, my brother and Lord Jesus. Bless you, my

Holy Spirit. Amen.

- Peter J. C. K. Gisbey DBA* CFA SIAff QTS DipBStMin BREEAM Associate

* = Doctoral manuscript finalised/doctoral studies completed in September 2017

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 5

Synopsis

The aim of this work is to briefly explore and shed light on the Renaissance period in Western

Europe between the 14th and 17th century inclusive. It focuses in particular on the ‘High

Renaissance’ period, which broadly runs from the turn of the 15th century to the mid-16th

century.

Chapter 1 provides an brief overview of what the Renaissance is. It aims to succinctly recognise

the breadth, brilliance and depth of the reality of the ‘Renaissance’, as apprehended by its

various stakeholders, especially the artists, writers and patrons themselves. It also provides a

modest outline of a small number of themes interpenetrating the notion that the Renaissance was

indeed important, providing certain and salient reasons for taking such a position.

Chapter 2 provides a brief critique of the Renaissance period, seeking to both present and

develop a number of viewpoints concerning whether the Renaissance still matters and, if so, to

what extent.

Chapter 3 develops suitable conclusions, after a brief discussion of the issues felt to be most

pertinent, arising from the work done in the preceding chapters. It suggests a close connection

between art, culture and socio-political/psychological discourse during the Renaissance period.

This work is likely to be relevant to people who are interested in gaining a basic understanding

of the key issues involved in understanding Western Europe’s Renaissance period. It is stressed

that the research paper seeks to make preliminary suggestions, rather than to merely provide

answers.

Keywords: Western, Europe, Renaissance, Art, Science, Sculpture

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 6

Table of Contents

Synopsis ........................................................................................................................................................ 5
List of Figures ................................................................................................................................................ 6
Chapter 1: Overview ..................................................................................................................................... 8
What is the Renaissance? ......................................................................................................................... 8
Why was the Renaissance important?.................................................................................................... 10
Chapter 2: Critique ...................................................................................................................................... 19
Does the Renaissance still matter? ......................................................................................................... 19
Chapter 3: Further Discussions and Conclusions ........................................................................................ 29
Introduction. ........................................................................................................................................... 29
Further Development. ............................................................................................................................ 29
References .................................................................................................................................................. 39

List of Figures

Figure 1. . ..................................................................................................................................... 11

Figure 2. ....................................................................................................................................... 12

Figure 3. ....................................................................................................................................... 13

Figure 4. ....................................................................................................................................... 14

Figure 5. ....................................................................................................................................... 15

Figure 6. ....................................................................................................................................... 15

Figure 7. ....................................................................................................................................... 16

Figure 8. . ...................................................................................................................................... 16

Figure 9. ....................................................................................................................................... 17

Figure 10. ..................................................................................................................................... 17

Figure 11. ..................................................................................................................................... 20

Figure 12. ..................................................................................................................................... 21

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 7

Figure 13. ..................................................................................................................................... 22

Figure 14. ..................................................................................................................................... 23

Figure 15. . .................................................................................................................................... 24

Figure 16. ..................................................................................................................................... 25

Figure 17. ..................................................................................................................................... 26

Figure 18. ..................................................................................................................................... 26

Figure 19. ..................................................................................................................................... 27

Figure 20. ..................................................................................................................................... 27

Figure 21. ..................................................................................................................................... 30

Figure 22. ..................................................................................................................................... 31

Figure 23. ..................................................................................................................................... 32

Figure 24. ..................................................................................................................................... 33

Figure 25. ..................................................................................................................................... 33

Figure 26. ..................................................................................................................................... 34

Figure 27. ..................................................................................................................................... 35

Figure 28. ..................................................................................................................................... 36

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 8

Chapter 1: Overview

“I who e're while the happy Garden sung,

By one mans disobedience lost, now sing

Recover'd Paradise to all mankind,

By one mans firm obedience fully tri'd

Through all temptation, and the Tempter foil'd

In all his wiles, defeated and repuls't,

And Eden rais'd in the wast Wilderness.”

– Paradise Regained (Book 1), Milton (1992)

What is the Renaissance?

It is undeniably the case that only a very small number of historical notions have a

similarly intriguing and indeed beguiling cachet as the ‘Renaissance’. The term itself literally

denotes ‘re-birth’. Its significance was influenced and thereby mediated through the associated

activities of very powerful European families such as the Medici family.

Regarding the Medici’s, it suffices to note that they were prolific bankers hailing from

Florence. Families such as the Medici’s gave significant financial and other support to various

artists, i.e. patronage. However, it is worth noting that at the beginning of the Renaissance, artists

generally saw themselves as citizens working for the good of the community, a continuation of

former traditions.
WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 9

Art, especially the work of great masters such as Botticelli, Da Vinci, Michelangelo and

Titian, has a strikingly numinous yet transcendental quality; even in depicting tragedy, it

therefore represents above all a triumph of the human spirit, at the same time pointing to the

divine and the ineffable.

In any case, through their creative talent, every artist makes a statement to those who

behold and indeed apprehend their work; consequently, art both implicitly and explicitly

communicates a multitude of political, spiritual and social values. Certainly, during the

Renaissance period, as with previous and later periods, art was very consciously used as a form

of competition for social and political status. The Renaissance was also a powerful driver behind

the early rise of the middle class in Western Europe, prior to the Industrial Revolution.

The Renaissance is associated with the prodigious imbuing of art, architecture, culture,

political affairs and scholarly writing with inspired and ancient Roman and Greek culture, hence

related concepts such as Neo-Platonism; major scientific/geographical discoveries, a greater

preponderance of critical thinking, and humanist education/individualism/realism are central

themes, along with the Protestant Reformation for which Martin Luther was the fundamental

catalyst (Dickson, 2017).

Moreover, also as suggested by Dickson (2017), some of the greatest achievements of the

Renaissance were uniquely British, as exemplified by the great flowering of playwriting talent

embodied by Christopher Marlowe, Ben Jonson and especially William Shakespeare.

As per Nolan and Nolan (2018), the ‘High Renaissance’ period has been taken to run

from the beginning of the 15th century to around the third decade of the 16th century (and

therefore some 130 years or so). It is seen as not only being unique to Western Europe, but also

spanning two quite remarkable centuries (Koenigsberger, 2014).

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 10

Instructively, Kirkpatrick (2014) embraces Renaissance thinking and culture in all its

diversity: from Northern thinkers such as Cusanus, Luther and Calvin, to the painting of Van der

Weyden and El Greco, and the music of the Flemish musicians, Josquin des Prez and Orlando

Lassus. It is surely right that one should not focus exclusively on Italy in seeking to understand

what the Renaissance was.

Why was the Renaissance important?

In a nutshell, the following points summarise the effects of the Renaissance, thereby

exemplifying its importance:

i) Advances in science and technology led to the European exploration of the world;

ii) Secularism led to the Protestant Reformation;

iii) Humanism encouraged the growth of democracy & the fight for human rights;

iv) The role of women in society improved;

v) Renaissance art led to the age of Classical Music and Classical Art in Europe

Patrons, scholars, artists, and engineers of the Renaissance looked back to their ancient

ancestors in order to help them craft their world in the fifteenth and sixteenth centuries.

In the Renaissance, there was a revolutionary and most novel impetus for using new

methods overcome problems, perhaps long-standing ones; above all, there was a dominant and

pervasive sense in the ability of courageous human beings to rise to the occasion, overcoming

precedents and perhaps even their wildest dreams (Italian Renaissance, 2019).
WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 11

Additionally, also as suggested by Italian Renaissance (2019), the Renaissance can be

seen as a ‘gateway’ between the ‘old world’ (especially in the wake of the Dark Ages) and the

‘modern world’ (particularly characterised by the Enlightenment, the Industrial Revolution and

the Scientific Revolution to come).

Figure 1: The Birth of Venus (Botticelli, c. 1485-1486)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 12

Figure 2: Venus Of Urbino (Titian, c. 1534-1536)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 13

Figure 3: Flora (Titian, c. 1515-1517)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 14

Figure 4: Baptism of Christ (Andrea del Verrocchio and Da Vinci, c. 1475)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 15

Figure 5: The Vitruvian Man (Da Vinci, c. 1485)

Figure 6: The Last Supper (Da Vinci, c. 1495-1498)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 16

Figure 7: Mona Lisa (Da Vinci, c. 1503)

Figure 8: The Sistine Chapel Ceiling (Michelangelo, c. 1508-1512)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 17

Figure 9: Creation of Adam (Michelangelo, c. 1512)

Figure 10: Creation of Eve (Michelangelo, c. 1510)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 18

Closing Thoughts

It therefore suffices to stress that the Renaissance was a remarkable period in the history

of Western Europe, and indeed the world taken as a whole, where an exceptionally high

concentration of genius manifested itself in all its myriad forms across all spheres of human

endeavour (especially artistic, scientific, and cultural/philosophical), through all the various

‘players’ (often polymaths such as Leonardo Da Vinci and Michelangelo Buonarroti).

Leonardo Da Vinci is commonly seen by many as the principal ‘player’ (and therefore

seen as the ‘Renaissance Man’ par excellence). But William Shakespeare surely also merits a

similar claim. Other ‘players’ of the Renaissance, such as Titian, Michelangelo, Botticelli,

Raphael and the like, also emphatically made their mark in their equally unique and inimitable

ways.
WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 19

Chapter 2: Critique

Does the Renaissance still matter?

The Renaissance remains profoundly impactful on a socio-cultural level, beginning with

how it radically transformed the modus operandi of artists, authors and patrons, from its

inception; the work of Leonardo Da Vinci is rightly famous, since he pioneered the fusion of art

and science in his work, therefore exemplifying the value of humanism and realism (Reference,

2019).

Moreover, and on the one hand, the linguistic currency of the Renaissance, along with its

widely dispersed visual attractions and individualistic/critical/creative ways of thinking, has been

deeply absorbed into the popular psyche (for example, the popular usage of the term

‘Renaissance Man’), especially in the West.

Furthermore, and on the other hand, moving further afield, it is striking how ideas

associated with the Renaissance have been readily received in a number of Asian countries,

notably Malaysia (where a very large signpost featuring the image of the ‘Mona Lisa’ can be

currently viewed in central Kuala Lumpur) and China (where, in Shenzhen, the technology

company Huawei has built a research campus modelled on famous European cities, very much

along ‘Renaissance’ lines)!

If the Renaissance still matters, to what extent is this case?

In light of what one has already written, it will not surprise the reader that one is of the

considered opinion that the Renaissance still matters, and to a great extent. This is particularly so

in light of the vagaries of the post-modern world, viewed presently from the 21st century.
WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 20

Very much in resonance with those released by the Renaissance, new energies have

emanated from other parts of the world and more recent periods, notably the ‘Industrial

Revolution’ (which started in the late 18th century in the UK, but has been hastened in recent

years by other countries, especially China since the early 1970’s) and the ‘Atomic Age’ (which

started in the early 20th century, also in the UK, but was hastened with the devastatingly

successful completion of the US’s ‘Manhattan Project’ in 1945).

Figure 11: Separation of Light and Darkness (Michelangelo, c. 1512)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 21

Figure 12: The Last Judgement (Michelangelo, c. 1536-1541)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 22

Figure 13: Portrait of Giovanni Arnolfini and his Wife (Jan Van Eyck, 1434)
WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 23

Figure 14: David (Michelangelo, c. 1501-1504)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 24

Figure 15: Pietà (Michelangelo, c. 1498-1499)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 25

Figure 16: Moses (Michelangelo, c. 1513-1515)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 26

Figure 17: The School of Athens (Raphael, c. 1509-1511)

Figure 18: The Alba Madonna (Raphael, c. 1510)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 27

Figure 19: Two Cherubs, Sistine Madonna (Raphael, c. 1512-1514)

Figure 20: Dome, Florence Cathedral (Brunelleschi, 1420)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 28

Closing Thoughts

In summing up, one wishes to strongly re-emphasise the contention that the Renaissance

still matters a great deal in contemporary affairs.

Indeed, in a post-modern and increasingly globalised 21st Century world, with ever-

increasing transfers of cultural and other technologies across the different regions of the world,

there is no doubt that the energies associated with the original Renaissance are being ever more

subtly and rapidly diffused.

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 29

Chapter 3: Further Discussions and Conclusions

Introduction.

As Koenigsberger et al. (2014) point out: “The Italian Renaissance placed a special

emphasis on beauty in art and in the natural world. The association of this natural beauty with

eternal beauty was revived (in part, from the seminal thoughts of the ancient Greek philosopher

Plato) and elaborated…..” (p. 389).

Strikingly, Koenigsberger et al. (2014) also note that: “At the very moment when the

artists of the High Renaissance achieved the classical balance of harmonious proportions and

ideal beauty in their altarpieces, statues and churches, the social and psychological basis of their

art was breaking down. This basis had been the Italian city state” (p. 390).

Reeves (1999) confirms that: “The Renaissance is a period in European history, covering

the span between the 14th and 17th (centuries). Renaissance art marks a cultural rebirth at the

close of the Middle Ages and the rise of the Modern World” (p. 1).

Further Development.

Maclagan (1971) notes that: ”…during the High Renaissance, Rome dominated art,

especially sculpture, throughout Italy, largely through the Florentine genius Michelangelo.

Michelangelo (1475-1564) though equally brilliant as architect, sculptor and painter, was

quintessentially a sculptor in everything he did” (p. 1).

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 30

Regarding the Renaissance period, Swaan (1977) notes that: “This new thinking became

manifest in art, architecture, politics, science and literature in stark contrast to the High Middle

Ages when Latin scholars focused almost entirely in studying Greek and Arabic works…” (p. 2).

Moreover, Swaan (1977) also comments, regarding the early Renaissance period, that: “Plague

devastated Europe in the late 1340s and early 1350’s, killing art and design” (p. 2).

Rather forcefully, Wijsman (2010) argues that: “…if we want to keep a clear idea of the

Renaissance , as a rebirth or as an efflorescence (initially emanating from Italy), then we should

not yield to the idea of a ‘Northern Renaissance’ (in places such as the Netherlands and

Burgundy), but find another means of approaching and describing the Netherlandish ‘ars nova’

(in other words, new art, arguably best exemplified by Sluter, Van Eyck and Van Der Weyden)

and Burgundian court culture” (p. 20).

Figure 21: Piazza del Duomo, Milan

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 31

Figure 22: Baptistery of Saint John, Florence

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 32

Figure 23: Leonardo Da Vinci (1452-1519)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 33

Figure 24: Niccolò Machiavelli (1469-1527)

Figure 25: William Shakespeare (1564-1616)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 34

Figure 26: Petrarch (1304-1374)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 35

Figure 27: Erasmus (1466-1536)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 36

Figure 28: Sir Thomas More (1478-1535)

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 37

Conclusions

In both explicating, and expanding upon, the essential points of this research paper, the

first conclusion that one wishes to make is Western Europe during the Renaissance period

provides a wonderful context for exploring contemporary discourses within European societies.

This is despite the view of writers such as Martin (2016) who powerfully suggests that:

“…the assumptions men and women made about identity in the European Renaissance were not

only radically different from our own, but equally varied and dynamic” (p. x).

One contends that it is still palpably obvious that the Renaissance marked a turning point

in delineating the notion of the ‘modern individual’, and indeed pointed to the later emergence of

the ‘postmodern self’ (e.g., Blake, 2013; Siegel, 1987; Von Sacher-Masoch, 2017; Von Sacher-

Masoch & Neugroschel,, 2000)

The second conclusion one is impelled to explicate is that the Renaissance mattered

greatly in its heyday, especially the ‘High Renaissance’ period, and still does to a significant

extent (e.g., Carthy, 2017).

For one thing, in the UK, since the Brexit vote of July 2016, much play (on words?) has

been made concerning the spectre of the UK’s prospective departure from the EU, still not

achieved as of June 2019 (e.g., Begg, 2017; Chalmers, 2017; Ryan, 2017).

For another thing, now looking at the world as a whole, it is becoming increasingly

evident there been a further renaissance in the scope and impact of the ‘industrial revolution’

notion, especially with regard to artificial intelligence and neural networks (e.g., Baskin,

Winkler & Tetko, 2016; Hamet & Tremblay, 2017; Hassabis, 2017; Syam & Sharma, 2018; Tan

& Lim, 2018).

WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 38

“Thus they the Son of God our Saviour meek

Sung Victor, and, from Heavenly Feast refresht

Brought on his way with joy; hee unobserv'd

Home to his Mother’s house private return'd.”

– Paradise Regained (Book 4), Milton (1992)

 WESTERN EUROPE RENAISSANCE ART SCIENCE CULTURE 39

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Martin, J. (2016). Myths of Renaissance individualism. Springer.

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Europe. In Renaissance? Perceptions of Continuity and Discontinuity in Europe, c. 1300-c.

1550 (pp. 269-288). Brill.

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