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Essay / Research Paper Abstract
A 5 page research paper that examines Renaissance humanism in art. By examining the work of three Renaissance artists, Da Vinci, Michelangelo, and Raphael, the writer argues that it becomes clear that a new form of humanism emerges at this point in time. This humanistic perspective was akin to, yet also, all together different from its philosophical predecessors, classical humanism and medieval Christianity. Bibliography lists 2 sources.
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5 pages (~225 words per page)
File: D0_khhumart.rtf
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the world of art. By examining the work of three Renaissance artists, Da Vinci, Michelangelo, and Raphael, it becomes clear that a new form of humanism emerges at this point
in time. This humanistic perspective was akin to, yet also, all together different from its philosophical predecessors, classical humanism and medieval Christianity. In order to appreciate this point, it is
helpful, first of all, to define humanism. A humanistic perspective assumes that life in the "here and now" is good and should be enjoyed (Fleming 36). This attitude is
in direct opposition to medieval asceticism, which held that the pleasures of this life are the snares of the devil, and the only good that humanity should expect is that
which will be given as a reward in the next life. The humanistic perspective on life began with society of the ancient Greeks. The classical humanism of the Greeks was
closely aligned with nature. "To create an imaginary world that is also a poetic image of the real world" was pictured by the Greeks as the pursuit of the real
artist (Fleming 36). However, with the advent of the medieval period, humanism was suppressed and replaced with a severe ascetic view of life. Nevertheless, by the fourteenth century, the "icy
intellectualism" of the medieval universities began to give way before the warmth of "Franciscan emotionalism" (Fleming 162). This shift in paradigm quickly found its way into art as the "mathematical"
elegance of Gothic structures began to yield to more "informal structures" (Fleming 162). Likewise, representation of Christ as an infant in his mothers arms began to replace the mature
image of Christ enthroned in divine majesty (Fleming 162). The Florentine humanism of the Renaissance evolved from this Franciscan spirit, but also it consciously took on classical coloration as
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