STYLES OF FORMULATION FOR PROPAGANDA IMAGE OF SECULAR POWER IN RENAISSANCE RELIGIOUS PAINTING

El-Shafie, Doaa Zain

doi:10.47436/jaars.2021.70803.1005

STYLES OF FORMULATION FOR PROPAGANDA IMAGE OF SECULAR POWER IN RENAISSANCE RELIGIOUS PAINTING

Document Type : Articles and research extracted from theses

Author

Doaa Zain El-Shafie

History of Art Department - Faculty of Fine Arts - Helwan University

10.47436/jaars.2021.70803.1005

Abstract

The desire to construct churches in the prosperous republic of Florence was more secular than religious in Renaissance. The religious architecture was attributed to the Church, the city government, the capitalist sectors, and the guilds. Human culture defined the new secular immortality of "fame," which was the opposite of medieval notions of human achievement that vanish in the face of victorious death.
The existence of Renaissance Artwork testifies to the period's political structures and wealth distribution. The act of commissioning an artist to design a building, sculpture, or painting was a declaration of the patron’s taste, erudition, wealth, and ambition. Art Projects aimed at the public strengthened the power of the patrons,s family. Notably, such substantial patronage altered the social standing of artists. The religious paintings of the Renaissance provide insight into the hierarchies and ideals that shaped Italy's warring city-states. The vast majority of Renaissance religious paintings were created to convey some kind of message. Most of the time that message was quite specific about the power of the patrons. Everyday people lived by religious law; it was something that many people believed in, and it was the most effective way to keep the masses under control.
In retrospect, it's convenient to criticize the Catholic Church's hypocrisy during the Renaissance. While rewarding the rich and commissioning elaborate, costly art and architecture, they preached the importance of modesty. It's harder to deny, though, that its funds helped to finance incredible cultural advancements and artifacts.

Keywords

References

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