Renesance je jedn\u00edm z nej\u017eiv\u011bj\u0161\u00edch a nejtransformativn\u011bj\u0161\u00edch obdob\u00ed v d\u011bjin\u00e1ch um\u011bn\u00ed, kter\u00e9 p\u0159edstavuje p\u0159echod od st\u0159edov\u011bk\u00e9ho sv\u011bton\u00e1zoru k nov\u00e9mu, humanistick\u00e9mu. Vznikla ve Florencii ve 14. stolet\u00ed, roz\u0161\u00ed\u0159ila se po cel\u00e9 Evrop\u011b a sv\u00e9ho vrcholu dos\u00e1hla v 15. a 16. stolet\u00ed. Renesan\u010dn\u00ed mal\u00ed\u0159stv\u00ed odm\u00edtlo konvence a symboliku st\u0159edov\u011bku a odhalilo div\u00e1kovi skute\u010dn\u00fd, harmonick\u00fd a proporcion\u00e1ln\u00ed sv\u011bt, kde do centra pozornosti stav\u00ed \u010dlov\u011bk \u2013 jeho t\u011blo, mysl, emoce a duchovn\u00ed hled\u00e1n\u00ed.<\/p>\n
Jedn\u00edm z nejv\u011bt\u0161\u00edch \u00fasp\u011bch\u016f t\u00e9to epochy bylo zvl\u00e1dnut\u00ed line\u00e1rn\u00ed perspektivy. Um\u011blci jako Filippo Brunelleschi a Masaccio se nau\u010dili zobrazovat prostor tak, aby se oku zd\u00e1l skute\u010dn\u00fd. To dodalo obraz\u016fm hloubku, objem a pocit \u201eokna do sv\u011bta\u201c. Perspektiva se stala v\u00edce ne\u017e jen technikou, ale filozofi\u00ed \u2013 symbolem touhy \u010dlov\u011bka pochopit a uspo\u0159\u00e1dat sv\u011bt kolem sebe. V obrazech jako Masacciova \u201eTrojice\u201c a Raffaelova \u201eAth\u00e9nsk\u00e1 \u0161kola\u201c slou\u017e\u00ed perspektiva nejen vizu\u00e1ln\u00edmu efektu, ale tak\u00e9 my\u0161lence \u2013 oslavov\u00e1n\u00ed rozumu a harmonie.<\/p>\n
Anatomick\u00e1 p\u0159esnost je dal\u0161\u00edm pil\u00ed\u0159em renesan\u010dn\u00edho mal\u00ed\u0159stv\u00ed. Um\u011blci studovali lidsk\u00e9 t\u011blo prost\u0159ednictv\u00edm pitev, skic a pozorov\u00e1n\u00ed. Leonardo da Vinci nap\u0159\u00edklad zanechal stovky anatomick\u00fdch skic, zkoumaj\u00edc\u00edch svalstvo, kostry a pohyb. To mu umo\u017enilo vytvo\u0159it \u201eVitruvi\u00e1nsk\u00e9ho mu\u017ee\u201c \u2013 symbol ide\u00e1ln\u00edch proporc\u00ed \u2013 a v \u201eMon\u011b Lise\u201c zprost\u0159edkovat nejen fyzickou podobnost, ale i vnit\u0159n\u00ed \u017eivot modelu. Michelangelo ve \u201eStvo\u0159en\u00ed Adama\u201c na strop\u011b Sixtinsk\u00e9 kaple zobrazoval t\u011bla s takovou silou a expresivitou, \u017ee se stala m\u011b\u0159\u00edtkem po stalet\u00ed.<\/p>\n
Revoluc\u00ed pro\u0161ly i barvy a sv\u011btlo. Um\u011blci za\u010dali pou\u017e\u00edvat \u0161erosvit k vytv\u00e1\u0159en\u00ed objemu a tak\u00e9 sfumato, techniku \u200b\u200bkou\u0159ov\u00e9ho p\u0159echodu t\u00f3n\u016f, kterou vynalezl Leonardo. To vytvo\u0159ilo jemnost, atmosf\u00e9ru a psychologickou hloubku. Tizian a Giorgione v Ben\u00e1tk\u00e1ch rozvinuli kolorismus \u2013 um\u011bn\u00ed vyjad\u0159ovat emoce barvou. Jejich obrazy, jako nap\u0159\u00edklad \u201eSp\u00edc\u00ed Venu\u0161e\u201c a \u201eVenu\u0161e Urbino\u201c, nejsou jen akty, ale \u00f3dy na smyslnost, harmonii a pozemskou kr\u00e1su.<\/p>\n
Zm\u011bnila se i t\u00e9mata obraz\u016f. V\u00fdhradn\u011b n\u00e1bo\u017eensk\u00e9 n\u00e1m\u011bty byly nahrazeny mytologick\u00fdmi, historick\u00fdmi, portr\u00e9tn\u00edmi a ka\u017edodenn\u00edmi kompozicemi. Um\u011blci zobrazovali starov\u011bk\u00e9 bohy, filozofy a sou\u010dasn\u00edky \u2013 bank\u00e9\u0159e, b\u00e1sn\u00edky a panovn\u00edky. Portr\u00e9t se stal samostatn\u00fdm \u017e\u00e1nrem: Botticelliho \u201eMona Lisa\u201c, \u201eMlad\u00fd mu\u017e s medailonem\u201c a Jan van Eyck\u016fv \u201eArnolfiniho portr\u00e9t\u201c \u2013 v\u0161echny byly pokusy zachytit jednotlivce, jeho vnit\u0159n\u00ed sv\u011bt, postaven\u00ed a dobu. \u010clov\u011bk p\u0159estal b\u00fdt sou\u010d\u00e1st\u00ed bo\u017esk\u00e9ho pl\u00e1nu; stal se hrdinou sv\u00e9ho vlastn\u00edho p\u0159\u00edb\u011bhu.<\/p>\n
<\/p>\n
Renesance vn\u00edmala antiku jako ide\u00e1l. Um\u011blci se inspirovali Plat\u00f3novou filozofi\u00ed, Ovidovou poezi\u00ed a architekturou starov\u011bk\u00e9ho \u0158\u00edma. Usilovali o symetrii, proporci, jasnost \u2013 \u201ezlat\u00fd \u0159ez\u201c. Ne\u0161lo o pouhou napodobeninu, ale o reinterpretaci: starov\u011bk\u00e9 formy byly prodchnuty k\u0159es\u0165ansk\u00fdm obsahem a klasick\u00e9 ide\u00e1ly sou\u010dasn\u00fdm \u017eivotem. V \u201eMadon\u011b na louce\u201c Raffael spojil n\u011bhu Panny Marie s eleganc\u00ed starov\u011bk\u00e9 nymfy a vytvo\u0159il obraz pln\u00fd pozemsk\u00e9 i nebesk\u00e9 l\u00e1sky.<\/p>\n
Ateli\u00e9ry a mecen\u00e1\u0161i hr\u00e1li kl\u00ed\u010dovou roli ve v\u00fdvoji um\u011bn\u00ed. Um\u011blci pracovali v ateli\u00e9rech pod veden\u00edm mistr\u016f, \u0161kolili u\u010dn\u011b a plnili zak\u00e1zky. Mecen\u00e1\u0161i um\u011bn\u00ed \u2013 rodina Medicejsk\u00fdch, pape\u017eov\u00e9 a kr\u00e1lov\u00e9 \u2013 financovali projekty, shroma\u017e\u010fovali sb\u00edrky a stav\u011bli pal\u00e1ce a kostely. Bez jejich podpory by mistrovsk\u00e1 d\u00edla Botticelliho, Michelangela a Tiziana jednodu\u0161e nevznikla. Um\u011bn\u00ed se stalo symbolem statusu, n\u00e1strojem moci a osv\u00edcen\u00ed.<\/p>\n
K rozkv\u011btu mal\u00ed\u0159stv\u00ed p\u0159isp\u011bly i technick\u00e9 inovace. P\u0159echod od temperov\u00fdch k olejov\u00fdm barv\u00e1m (zejm\u00e9na v severn\u00ed renesanci) umo\u017enil v\u011bt\u0161\u00ed hloubku barev, pr\u016fhlednost vrstev a detaily. Jan van Eyck, myln\u011b pova\u017eovan\u00fd za vyn\u00e1lezce olejomalby, ji zdokonalil \u2013 jeho \u201eArnolfini\u201c udivuj\u00ed sv\u00fdmi detaily: odrazy v zrcadlech, texturou l\u00e1tek, hrou sv\u011btla na ovoci. Byla to skute\u010dn\u00e1 revoluce ve ztv\u00e1rn\u011bn\u00ed reality.<\/p>\n
Odkaz renesance je nesm\u00edrn\u00fd. Polo\u017eila z\u00e1klady akademick\u00e9ho um\u011bn\u00ed, ovlivnila baroko, klasicismus, neoklasicismus a dokonce i modern\u00ed mal\u00ed\u0159stv\u00ed. Ide\u00e1ly harmonie, proporc\u00ed a studia p\u0159\u00edrody a \u010dlov\u011bka z\u016fst\u00e1vaj\u00ed relevantn\u00ed. Muzea po cel\u00e9m sv\u011bt\u011b uchov\u00e1vaj\u00ed renesan\u010dn\u00ed mistrovsk\u00e1 d\u00edla jako poklady lidstva \u2013 nejen pro jejich kr\u00e1su, ale tak\u00e9 pro jejich odvahu my\u0161len\u00ed, snahu o pozn\u00e1n\u00ed a v\u00edru v lidskou s\u00edlu. Renesance n\u00e1m p\u0159ipom\u00edn\u00e1: um\u011bn\u00ed nen\u00ed dekorace, ale zp\u016fsob, jak pochopit sv\u011bt.<\/p>\n
Dnes, kdy\u017e se d\u00edv\u00e1me na Leonardovu \u201ePosledn\u00ed ve\u010de\u0159i\u201c nebo Botticelliho \u201eZrozen\u00ed Venu\u0161e\u201c, neobdivujeme jen kr\u00e1su \u2013 setk\u00e1v\u00e1me se s dobou, kdy se \u010dlov\u011bk poprv\u00e9 c\u00edtil jako stvo\u0159itel, rovn\u00fd p\u0159\u00edrod\u011b a bl\u00edzk\u00fd bo\u017estv\u00ed. Renesance nen\u00ed jen styl; Je to stav mysli: v\u00edra v rozum, l\u00e1ska ke kr\u00e1se, \u017e\u00edze\u0148 po pozn\u00e1n\u00ed. A v tomto smyslu \u017eije dodnes \u2013 v ka\u017ed\u00e9m um\u011blci, kter\u00fd se sna\u017e\u00ed vid\u011bt sv\u011bt hloub\u011bji, malovat ho up\u0159\u00edmn\u011bji, u\u010dinit ho kr\u00e1sn\u011bj\u0161\u00edm.<\/p>\n","protected":false},"excerpt":{"rendered":"
Renesance je jedn\u00edm z nej\u017eiv\u011bj\u0161\u00edch a nejtransformativn\u011bj\u0161\u00edch obdob\u00ed v d\u011bjin\u00e1ch um\u011bn\u00ed, kter\u00e9 p\u0159edstavuje p\u0159echod od st\u0159edov\u011bk\u00e9ho sv\u011bton\u00e1zoru k nov\u00e9mu, humanistick\u00e9mu. Vznikla ve Florencii ve 14. stolet\u00ed, roz\u0161\u00ed\u0159ila se po cel\u00e9…<\/p>\n","protected":false},"author":2,"featured_media":93,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-92","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-malovani"],"_links":{"self":[{"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=\/wp\/v2\/posts\/92","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=92"}],"version-history":[{"count":1,"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=\/wp\/v2\/posts\/92\/revisions"}],"predecessor-version":[{"id":94,"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=\/wp\/v2\/posts\/92\/revisions\/94"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=\/wp\/v2\/media\/93"}],"wp:attachment":[{"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=92"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=92"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rabbrconfr.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=92"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}