Italian Renaissance Courts: Art, Pleasure and Power (Renaissance Art)

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Keele, Kenneth D.; Roberts, Jane (1983). Leonardo da Vinci: Anatomical Drawings from the Royal Library, Windsor Castle. New York: The Metropolitan Museum of Art. ISBN 0-87099-362-3. The predominant forms of sacred music during the period were the mass and the motet. By far the most famous composer of church music in 16th-century Italy was Palestrina, the most prominent member of the Roman School, whose style of smooth, emotionally cool polyphony was to become the defining sound of the late 16th century, at least for generations of 19th- and 20th-century musicologists. Other Italian composers of the late 16th century focused on composing the main secular form of the era, the madrigal; for almost a hundred years these secular songs for multiple singers were distributed all over Europe. Composers of madrigals included Jacques Arcadelt, at the beginning of the age, Cipriano de Rore, in the middle of the century, and Luca Marenzio, Philippe de Monte, Carlo Gesualdo, and Claudio Monteverdi at the end of the era. Italy was also a centre of innovation in instrumental music. By the early 16th-century keyboard improvisation came to be greatly valued, and numerous composers of virtuoso keyboard music appeared. Many familiar instruments were invented and perfected in late Renaissance Italy, such as the violin, the earliest forms of which came into use in the 1550s. Feuillet concentrated his efforts on the most influencing dance at court, called "La belle danse", or also known as "The French noble style". This kind of dance was popular at balls or courts with more demanding skills. "Entrée grave", as one of la belle danse's highest form, was typically performed by one man or two men with graceful and dignified movements, followed by slow and elegant music. At this time, it's only men that performed la belle danse and entrée grave. Women did perform at queen's ballets and other social occasions, but not at entrée grave, king's ballets, at courts or on Paris' stages, not until 1680s. During this particular time, men were considered to be the champion and master of art, displaying their masculine, dignified and noble dance, a king's dance. This also set the model for classical ballet. [23]

The literature and poetry of the Renaissance was largely influenced by the developing science and philosophy. The humanist Francesco Petrarch, a key figure in the renewed sense of scholarship, was also an accomplished poet, publishing several important works of poetry. He wrote poetry in Latin, notably the Punic War epic Africa, but is today remembered for his works in the Italian vernacular, especially the Canzoniere, a collection of love sonnets dedicated to his unrequited love Laura. He was the foremost writer of Petrarchan sonnets, and translations of his work into English by Thomas Wyatt established the sonnet form in that country, where it was employed by William Shakespeare and countless other poets. If not for the Sforza court, then arguably one of the most paintings on earth would not be here for posterity — The Last Supper. At his humanist court, Lorenzo gathered together the leading artists, intellectuals, and philosophers of the day. Miller, Maureen C. (2002-01-01). The Bishop's Palace. Cornell University Press. doi: 10.7591/9781501728204. ISBN 978-1-5017-2820-4. The latter half of the 20th century brought a new style known as neoclassical ballet. A young Russian dancer who trained at the Imperial Ballet School in St. Petersburg, George Balanchine became one of the most important figures in modern ballet. The young, classically trained dancer fled Soviet Russia in 1924 and joined the Ballets Russes in Paris as their choreographer. In Paris in 1928, his work Apollo debuted, and is considered today to be the first neoclassical ballet. Its pared-down aesthetic and choreography driven by the music (rather than the story) was innovative.Christopher Columbus, Genoese explorer and colonizer whose voyages initiated the European colonization of the New World

Popularity throughout Europe [ edit ] The Royal Ballet of the Dowager of Bilbao's Grand Ball, 1626. Capra, Fritjof (2008). The Science of Leonardo. Inside the Mind of the Great Genius of the Renaissance. Doubleday, ISBN 978-0-385-51390-6. Niccolò Machiavelli (1469–1527), the author of The Prince and prototypical Renaissance man. Detail from a portrait by Santi di Tito. Main articles: Italian Renaissance painting, Italian Renaissance sculpture, and Florentine painting Detail of The Last Judgment by Michelangelo, 1536–1541Ceriani Sebregondi, Giulia. On Architectural Practice and Arithmetic Abilities in Renaissance Italy. Architectural Histories, vol. 3, no. 1, 2015 ( online). Ballerina Marie Taglioni in “Zephire et Flore,” c. 1831. (Photo: Wikimedia Commons [Public domain])The 19th century saw the emergence of a style of ballet which would become familiar to modern audiences. The French Revolution caused a shift in tastes—ballet separated from its courtly roots. Skirts shortened and soft dance slippers were introduced, allowing for greater motion. Dancing en pointe was developed by professional female dancers during the first few decades of the century. Among these early pioneers were the Italian dancers Amalia Brugnoli and Marie Taglioni, as well as the French ballerina Fanny Bias of the Paris Opera Ballet company. During the 19th century, the ballerina became the star of the once male-dominated discipline. Then there’s Palazzo dei Diamnati, the Palace of the Diamonds. It was built by Ercole d’Este. It looks a lot like the rusticated Renaissance palaces being built in Florence. The Magnificent also commissioned works from the likes of Brunelleschi, Bennozo Gozzoli, Masaccio, Filippo Lippi, Donatello, Bronzino, and Fra Angelico. The list of Renaissance masterpieces in Florence is endless! Ceriani Sebregondi, Giulia (2015-06-09). "On Architectural Practice and Arithmetic Abilities in Renaissance Italy". Architectural Histories. 3 (1). doi: 10.5334/ah.cn. ISSN 2050-5833.

B.M. Adelson, The Lives of Dwarfs.Their Journey from Public Curiosity Toward Social Liberation. (Rutgers University Press, Piscataway, 2005) They took over Mantua from the previous family by force. They became dukes in 1530. The court patronized artists like Andrea Mantegna and Giulio Romano.The 19th century was a period of great social change, which was reflected in ballet by a shift away from the aristocratic sensibilities that had dominated earlier periods through romantic ballet. Ballerinas such as Geneviève Gosselin, Marie Taglioni and Fanny Elssler experimented with new techniques such as pointework that gave the ballerina prominence as the ideal stage figure. Taglioni was known as the "Christian Dancer," as her image was light and pure (associated with her role as the sylph in La Sylphide). She was trained primarily by her father, Filipo Taglioni. In 1834, Fanny Elssler arrived at the Paris Opera and became known as the "Pagan Dancer," because of the fiery qualities of the Cachucha dance that made her famous. Professional librettists began crafting the stories in ballets. Teachers like Carlo Blasis codified ballet technique in the basic form that is still used today. The ballet boxed toe shoe was invented to support pointe work. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. ( April 2010) ( Learn how and when to remove this template message) Today, the palace is home to the National Museum of the Marche. It boasts some of the most famous paintings of the Renaissance including Piero della Francesca’s surreal and puzzling The Flagellation of Christ, Raphael’s luminous La Muta, and the Ideal City Panel. The objects featured in All that Glitters include a selection of luxury textiles and clothing, a drawing, a hand-colored print, and glass that complement the wide variety of lavishly illuminated manuscripts that found an enthusiastic audience in the palaces and châteaux of late medieval and Renaissance Europe.

The city is handsome. In the Renaissance era, it was under the rule of the Este family, led by Duke Borso d’Este. He was the epitome of refinement and known for wearing his chivalry and rich clothing. The most important figure of 18th-century ballet was Jean-Georges Noverre, who is typically credited with the narrative shift to the storytelling ballet d’action. The French dancer and choreographer wrote Lettres sur la Danse et les Ballets. Published in 1760, the text outlines a style of ballet based on the relationships of characters. This new style drew on the ancient art of pantomimes, and the ballet d’action was also known as a pantomime ballet. Noverre's most famous ballet— Les Fêtes Chinoises—fully embraced the Rococo aesthetic. A trained corps de ballet performed in front of luxurious set designs. The Parisian public loudly praised the ballet upon its first performance in the city in 1754. Bayer, A. (2004). Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy. New York: The Metropolitan Museum of Art. ISBN 9781588391162. Rose, Paul Lawrence (1973). "Humanist Culture and Renaissance Mathematics: The Italian Libraries of the Quattrocento". Studies in the Renaissance. 20: 46–105. doi: 10.2307/2857013. ISSN 0081-8658. JSTOR 2857013.Cole, Alison, Italian Renaissance Courts: Art, Pleasure and Power Link opens in a new window (London, 2016) [The Introduction, Chapters 1, 2, and 6, and the Epilogue] Jensen 1992, p. 97; see also Andrew B. Appleby's "Epidemics and Famine in the Little Ice Age." Journal of Interdisciplinary History. Vol. 10 No. 4.