Key figures, works, and ideas of the Renaissance
20 cards · history
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| Front | Back |
|---|---|
| Renaissance humanism | Classical learning focused on human potential and civic virtue Studia humanitatis emphasized grammar, rhetoric, history, poetry, and moral philosophy. |
| Medici patronage | Florentine bankers; major arts patrons of the 15th century Backed Brunelleschi, Donatello, Botticelli, and the young Michelangelo; Lorenzo “il Magnifico” led. |
| Linear perspective | Brunelleschi’s geometric system for depth, c. 1420s Uses a single vanishing point and orthogonals; codified by Alberti in 1435. |
| Oil painting in the North | Perfected by Jan van Eyck, 1430s; luminous, precise detail Slow-drying oils allowed layered glazes and realism in Netherlandish art. |
| Printing press | c. 1440; first movable-type printing press in Europe Revolutionized information spread; enabled the Reformation and Scientific Revolution. |
| Florence Cathedral dome | Brunelleschi, 1420–1436, double-shell dome without centering Herringbone brickwork solved the span; the dome became a symbol of Florence. |
| The Birth of Venus | Botticelli, c. 1484–1486, mythological nude on canvas Neoplatonic ideal of beauty; among the earliest large canvases in Florence. |
| The Last Supper | Leonardo da Vinci, c. 1495–1498, refectory mural One-point perspective centers Christ; experimental medium deteriorated quickly. |
| David | Michelangelo, 1501–1504, marble statue, Florence Republican symbol of Florence; originally installed in Piazza della Signoria. |
| Sistine Chapel ceiling | Michelangelo, 1508–1512, Vatican fresco cycle Includes The Creation of Adam, prophets, and sibyls; commissioned by Julius II. |
| School of Athens | Raphael, 1509–1511, fresco of classical philosophers Plato and Aristotle at center; synthesis of humanist learning and High Renaissance balance. |
| The Prince | Machiavelli, 1513; realist handbook on power Published 1532; portrays statecraft grounded in necessity rather than idealism. |
| The Book of the Courtier | Castiglione, 1528; ideal of the courtly gentleman Introduces sprezzatura—effortless grace—in conversation, manners, and arts. |
| Arnolfini Portrait | Jan van Eyck, 1434, oil on panel, meticulous detail Convex mirror, signature, and symbolic objects display technical and moral precision. |
| Albrecht Dürer | German master of printmaking; woodcuts and engravings Prints like Apocalypse and Melencolia I spread ideas across Europe. |
| Hunters in the Snow | Pieter Bruegel the Elder, 1565, winter landscape Part of a Seasons series; vivid, humane vision of peasant life and nature. |
| In Praise of Folly | Erasmus, 1509; satirical critique of abuses A classic of Christian humanism, dedicated to Thomas More. |
| Utopia | Thomas More, 1516; ideal commonwealth on an island Coins “utopia”; uses fiction to critique social and political ills. |
| De humani corporis fabrica | Vesalius, 1543; landmark anatomy based on dissection Corrected Galen through direct observation; famed for detailed woodcuts. |
| De revolutionibus orbium coelestium | Copernicus, 1543; heliocentric model of the cosmos Placed the Sun at the center; foundational for the Scientific Revolution. |