The history of Renaissance

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State university of land use planning

Architectural department

The report on a theme:

The history of Renaissance

Made: Stanislav Shanin, the 23th group

The leader: Starikova E.V.

Moscow, 2015

Contents

Introduction

1. History of style

2. Interior decoration

3. Historical and modern examples

Conclusion

References

Introduction

Revival as new outlook and new art style I arose in Italy at the end of the XIV century. The first town-planning ideas presented the city in the form of an architectural whole according to in advance made plan. Under the influence of these ideas instead of narrow and curve medieval lanes in the Italian cities the direct wider streets which are built up with big buildings began to appear.

Planning and architecture of the areas in Renaissance consisted in the XV-XVI centuries in Rome and other large cities of Italy.

The cities of Renaissance gradually received new lines under the influence of public changes. However because of a private property to the earth and backward equipment it was impossible to pass quickly from the old city into the new. During the entire periods of the Renaissance the main efforts of town-planners were aimed at the development of the downtown - the square and the next quarters. During blossoming of the monarchic states in the XVIII century ensembles of central squares of the cities exclusive significance, as to their main jewelry was attached. City squares had generally geometrically correct outlines.

During this period some cities with use of the new principles of town planning were reconstructed here. In most cases palaces in such cities were placed on central squares that represented sometimes the beginning three-beam compositions.

revival interior renaissance architecture

1. History of style

At a turn of 15-16 centuries in Europe there was absolutely new architectural system - style of the Renaissance. In a different way, as we know, this period - Renaissance. The architecture of this time changed and improved as a result of merge and mutual influence of local traditions and new trends, come from the outside. The Renaissance is time of incredibly considerable changes not only in art, but also in the economic and social sphere practically of all European countries. It was in many respects caused by shift of accents in the field of trade ways, formation of new industrial and shopping centers in view of opening of the American continent, strengthening of influence of Turks on the Balkans, basic changes in culture and ideology.

At the time of the Renaissance knowledge of the world was considerably expanded and deepened, much attention of a role of the person in the world and society began to be paid. The ideal man is educated now, physically strong strong-willed personality who if necessary is capable to assert surely the rights, to change and improve the world. The new class - the bourgeoisie who tries to create and introduce the ideology arose and began to become stronger. Absolutely new directions in science, art, literature, philosophy and, of course, in architecture develop. In all these spheres people make a start from antique heritage, than the wave of interest and to ancient art and architecture speaks.

The architecture in Renaissance was characterized by exact, academically right combination and creation of details and proportions as it was during an antique era. In the early Renaissance decorative jewelry and ornamental furniture played very significant role, however on average and the late Renaissance the role of these elements was reduced.

The architecture of Renaissance didn't develop evenly in all countries, even in Italy - in the North and the South of the state considerable distinctions were observed. Namely - in Venice and all Northern part of the country the role of decorative receptions was much more.

In each country of Europe there were own lines and features of construction. However it is possible to track some general signs. For example, it is refusal of a frame stone basis of a design of a gothic style and advantage of new constructive system - idle time, quite flexible, economic and even facilitates work of the architect. It structures with the arches and walls from a brick (cross, torispheral, sailing, close, dome and spherical) with partial use of wooden elements in frame designs of overlappings of floors, in rafters of inclined roofs. For facing of a brick used plaster, marble, a stone. Such facings I had decorative and plastic value. And ways of scenery and ornament an ornament from the very beginning were the general for almost all countries.

Architecture of Renaissance to a look not only creation of a beautiful and functional construction, but also importance giving to the author - to the master-artist who possesses unique identity. In a world history the architecture of the Renaissance forever entered names of great masters - Bramante, Alberti, Brunelleski, Bramonte, Delorm, Michelangelo, Herrera, Jones.

2. Interior decoration

The new style called by contemporaries style of the Renaissance introduced new spirit of freedom and belief in boundless opportunities of the person in art and culture of medieval Europe. The new esthetics was reflected and in interior design: now to it big rooms with the rounded arches, finishing by a carved tree, a worthiness and relative independence of each separate detail from which the whole is gathered are characteristic.

The Renaissance which followed a gothic style didn't inherit its popularity at our contemporaries. Perhaps, the esthetics of the Renaissance is too harmonious and reasonable for today's architecture preferring intricate and asymmetrical forms.

Strict organization, logicality, clarity, rationality of creation of a form. Clearness, steadiness, symmetry of parts of rather whole. A worthiness and relative independence of each separate detail from which the whole "is gathered". The ornament imitates antique samples.

The Renaissance principles of creation of space and decorative receptions are universal and quite could be applied in any century to the solution of various art tasks.

Against decorative magnificence of the Renaissance the situation of interiors is happy is avaricious - in one room seldom there were more than three pieces of furniture. But big windows with the wide slopes reminding a picture frame are capable to change significantly character of an interior, to fill in it with a sunlight and to decorate with a spring landscape.

In an interior the Renaissance helps are guessed on special clarity and purity of the composite decisions peculiar to this style. The light, filled with air space, as a rule, is symmetric.

Deep prospect, proportionality, harmony of forms - obligatory requirements of an esthetics of the Renaissance. Character of internal space in many respects is defined by vaulted ceilings which smooth lines repeat in numerous semicircular niches.

Creation of symmetric composition makes a start from one central element acting as an axis of this symmetry. For example, the fireplace, formally and psychologically being in the center of attention can become such element. Profiled eaves and modelled fragments which in this case look can add a picture is rather heavy.

The Renaissance twiddle makes a start from antique samples. The leaf of an akant, motive of a candelabrum, cupids are widely used various form of a column, a pilaster; the grotesques developed on the basis of the ornaments found on an ancient Roman wall-painting are entered into use; arabesques, cartouches, scallops, garlands, the lion's heads, griffins, etc. were widely used.

The Renaissance furniture is characterized by an accurate form, clear construction and numerous architectural elements. Cabinet furniture is solved as an architectural construction, as a tiny palace with columns, pilasters, eaves, pediments.

After a bed a situation subject, the second for importance, - a chest-kassone (with a carving, incrustation and a list).

Two types of tables meet: a rectangular shape with a thick table-top on two massive foundations and central, or one-basic, with table-tops round, six - or an octagonal form. The Venetian furniture was famous for special decorative effect: chests, cases were decorated with a list and gilding.

3. Historical and modern examples

Houses of the nobility in Renaissance, especially in the XV-XVI centuries, differed in splendor and magnificence. It, actually, were also not at home, but real palaces. They were under construction, as a rule, not within the city, and in vicinities -- is closer to the nature, far away from an eternal city stench and dirt. Rich men -- natives of the third estate, too sought to get the house outdoors. Especially country country houses were loved by the Italian nobility. The well-known country house of Medici near Florence was confounded the magnificence many palaces of the nobility. Country houses of rich men decorated with miracle the escaped antique statues, fragments of the mosaics and marble reliefs removed from facades of ancient structures. Marble floors, wide lancet windows, spacious ladders, courtyards with galleries, arbors made impression of luxury and a scope, especially by contrast with the cities where eternally there was no space.

The Early Renaissance (the beginning of the XV century - the end of the XV century)

The Italian architectural monuments of the early Renaissance are in the basic in Florence, among them - an elegant and at the same time simple dome of Cathedral of Santa Maria del Fiore in a technical solution (1436) and Palazzo Pitti, created by Filippo Brunelleschi which defined a vector of development of architecture of the Renaissance; Rikkardi's palaces built by Michelozzo-Michelozzo, palaces Benedetto's Term of Maya da and S. Kronak, palaces of Honda (Giuliano San Gallo), Ruchchellai Leon's palaces Battista Alberti. In Rome Borgonyona can note small and big Venetian palaces of Bernardo di Lorenzo, Chertoz in Pavia, a palace Vendramin-Kalerdzhi of P. Lombardo, Korner-Spinelli, Trevizan, Kantarini and the Palace of rains in Venice. To the north from the Alps, and also in Spain, the Early Renaissance comes only at the end of the XV century, and its early period lasts, approximately, to the middle of the XVI century, however, during this period in other countries it is impossible to speak about creation of masterpieces.

Most often at registration of buildings there is the Corinthian warrant with various modifications of a capital. New style gets into not temple architecture more strongly: the palaces of governors, the city authority and the nobility earlier similar to fortresses, not in everything having departed from a medieval look, change, it is obvious to observe desire of architects symmetry and harmony of proportions. These buildings owe harmoniously spacious courtyards enclosed in the lower and top floors with the covered galleries on arches which are supported by columns or pilasters of an antique form. A facade regularity across by means of sophisticated interfloor eaves and the main eaves is provided, forms strong performance under a roof.

The High Renaissance (the end of the XV century - the first 20 years of the XVI century)

The main monuments of the Italian architecture of this time - secular buildings which differ in a harmony and greatness of the proportions, grace of details, processing and figuration of eaves, windows, doors; palaces with easy, generally two-story galleries on columns and columns. In temple construction the aspiration to a enomity and majesties is observed; transition from the medieval groin arch to Roman by torispherical the arches was carried out, domes lean on four massive columns.

Donato Bramante (1444 - 1514) was the representative of this period, strictly followed in construction of buildings to the classical principles. On Tempyetto in the yard of church of San Pietro in Montorio (1503) Bramante rotundas of the Roman temples inspired. Also Bramante built della Cancellerija's palace, the palace of the Giro, Saint-Damazo's yard in the Vatican palace, and also made the plan of St. Peter's Cathedral in Rome and started building the house. But it is hardly possible to call him the slave to classical forms; its style defined the Italian architecture within all the XVI century. Outside Italy time of blossoming of the Renaissance came in half a century, the Italian style extends across Europe, but thus changes, absorbing local architectural traditions. In France to architecture of the high Renaissance it is possible to carry: P. Lescaut the western facade of the Luvrsky palace in Paris, the royal castle to Fontainebleau, Ania's lock and Tuileries built Philibert Delorm is created; The Ekuyensky lock, the palace in Blua; in Spain - the Escorial of X palace. de Toledo and J.de Herrera, in Germany - part of the Heidelberg lock, the Altenburgsky town hall, an outer entrance hall of the Cologne town hall, Fyurstengof in Vilmar and others.

The Late Renaissance (mid XV century - the end of the XV century)

In architecture experiment with forms, development and a combination of antique images was made, there are complications of details, a bend, refractions and interruptions in architectural lines, intricate figuration, big density of columns and semi-columns and pilasters in space. More free ratio of space and a matter is emphasized. Subsequently from this tendency Baroque style, and then, in the XVIII century, style of rococo developed. Up to the XX century the concept "mannerism" had a negative connotation ("pretentious", "freakish"), but so far the term is used only for the description of the corresponding historical period, and in general the neutral.

Te Giulio's Palace of Romano in Mantua, with his huge loggias, walls, park grottoes and big frescos is other example of this style in architecture.

Lorenzo Bernini created semicircular colonnades of St. Peter's Cathedral, a shade over its main throne, Barberini and Brachchyano's palaces.

Conclusion

This new style of an interior which was called by contemporaries of style of the Renaissance, introduced free new spirit and belief in boundless opportunities of mankind in culture and art of medieval Europe.

Characteristic features of an interior in the Steel Renaissance style the big rooms having roundish arches, finishing by a carved tree, a worthiness and relative independence of each separate detail from which the whole is gathered. Strict organization, logicality, clarity, rationality of creation of a form. Clearness, steadiness, symmetry of parts of rather whole. The ornament imitates antique samples. Elements of the Renaissance style were borrowed from an arsenal of forms of the Greek-Roman warrants. Deep prospect, proportionality, a harmony of forms -- obligatory requirements of an esthetics of the Renaissance.

Color scale of the Renaissance soft, half tone pass each other, any contrasts full harmony. Nothing is evident. Character of internal space in many respects is defined by vaulted ceilings which smooth lines repeat in numerous semicircular niches.

Walls in the Renaissance style: the main materials or their imitation is a smooth stone, marble and sandstone. Various variations of plaster on one wall are used, leaving a surface smooth. Wall painting is widely used in the Renaissance style. When dressing walls in the Renaissance style the velvet, brocade or tooled leather is used. Relevant to style of Renaissance will be niches in walls which can be decorated with frescos. In such niches bronze figurines will well look. Presence of a carved tree as a wall decor, but unlike a gothic style is still actual, easier and smooth patterns, and also use of a tree not only dark breeds are inherent in the Renaissance.

The Renaissance twiddle makes a start from antique samples. The leaf of an akant, motive of a candelabrum, cupids are widely used various form of a column, a pilaster. The pictures "semi-antique" which are made old pieces of furniture, sustained in this style, shod furniture, accessories from an ivory, candelabrums, chests-kassone belong to decor subjects in the Renaissance style.

Distinctive features of the Renaissance style is a chic and royal advantage.

References

1. Андреев М. Л. Инновация или реставрация: казус Возрождения// Вестник истории, литературы, искусства. Т. 1. -- М.: Наука, 2005. С. 84-97.

2. Баренбойм П., Шиян С. Микеланджело. Загадки Капеллы Медичи. М.: Слово, 2006.

3. Бирюкова Н.В. История архитектуры. Издательство: ИНФРА - М., 2009.

4. Государство как произведение искусства: 150-летие концепции: Сб. статей/ Институт философии РАН, Московско-Петербургский философский клуб; Ответственный редактор Абдусалам Гусейнов. -- М.: Летний сад, 2011. -- 288 с.

5. Яйленко Е. В. Итальянское Возрождение. -- М.: ОЛМА-ПРЕСС, 2005. -- 128 с.

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