18 asrda rim san'ati the Italiya Uyg'onish davri

Rassomlik va haykaltaroshlik

Asosiy maqolalar: Italiya Uyg'onish davri rasmlari va Florensiyalik rasm

Batafsil Oxirgi hukm, 1536–1541, by Mikelanjelo
In painting, the Late Medieval painter Giotto di Bondone, or Giotto, helped shape the artistic concepts that later defined much of the Renaissance art. The key ideas that he explored – klassizm, the illusion of three-dimensional space and a realistic emotional context – inspired other artists such as Masaccio, Mikelanjelo and Leonardo da Vinci.^[38] He was not the only Medieval artist to develop these ideas, however; rassomlar Pietro Cavallini va Cimabue both influenced Giotto's use of statuesque figures and expressive storylines.^[39][40]
The fresklar of Florentine artist Masaccio are generally considered to be among the earliest examples of Italian Renaissance art. Masaccio incorporated the ideas of Giotto, Donatello and Brunelleschi into his paintings, creating mathematically precise scenes that give the impression of three-dimensional space.^[41] The Muqaddas Uch Birlik fresco in the Florentine church of Santa Mariya Novella, for example, looks as if it is receding at a dramatic angle into the dark background, while single-source lighting and qisqartirish appear to push the figure of Christ into the viewer's space.^[42]
While mathematical precision and classical idealism fascinated painters in Rome and Florence, many Northern artists in the regions of Venice, Milan and Parma preferred highly illusionistic scenes of the natural world.^[43] The period also saw the first secular (non-religious) themes. There has been much debate as to the degree of dunyoviylik in the Renaissance, which had been emphasized by early 20th-century writers like Jacob Burckhardt based on, among other things, the presence of a relatively small number of mythological paintings. Ular Botticelli, ayniqsa Veneraning tug'ilishi va Primavera, are now among the best known, although he was deeply religious (becoming a follower of Savonarola) and the great majority of his output was of traditional religious paintings or portraits.^[44]

Dovud tomonidan Donatello
In sculpture, the Florentine artist Donato di Niccolò di Betto Bardi, or Donatello, was among the earliest sculptors to translate classical references into marble and bronze.^[45] His second sculpture of Dovud was the first free-standing bronze nude created in Europe since the Roman Empire.^{[iqtibos kerak]}
The period known as the High Renaissance of painting was the culmination of the varied means of expression^[46] and various advances in painting technique, such as chiziqli istiqbol,^[47] the realistic depiction of both physical^[48] and psychological features,^[49] and the manipulation of light and darkness, including tone contrast, sfumato (softening the transition between colours) and chiaroscuro (contrast between light and dark),^[50] in a single unifying style^[51] which expressed total compositional order, balance and harmony.^[52] In particular, the individual parts of the painting had a complex but balanced and well-knit relationship to the whole.^[53] The most famous painters from this phase are Leonardo da Vinci, Rafael, and Michelangelo and their images, including Leonardo's Oxirgi kechki ovqat va Mona Liza, Raphael's Afina maktabi and Michelangelo's Sistine Chapel Ceiling are the masterpieces of the period and among the most widely known works of art in the world.^[44]
High Renaissance painting evolved into Mannerism, especially in Florence. Mannerist artists, who consciously rebelled against the principles of High Renaissance, tend to represent elongated figures in illogical spaces. Modern scholarship has recognized the capacity of Mannerist art to convey strong (often religious) emotion where the High Renaissance failed to do so. Some of the main artists of this period are Pontormo, Bronzino, Rosso Fiorentino, Parmigianino and Raphael's pupil Giulio Romano.^[54]