THE ARCHITECTURE OF ANCIENT ROME IN RENAISSANCE PAINTING
DOI:
https://doi.org/10.32782/facs-2024-6-24Keywords:
antique forms, spatial composition, architectural motifs, Renaissance, Gothic architectureAbstract
The purpose of the work is to study the features of Ancient Roman architecture representation in Renaissance painting, trace the evolution of antique architectural forms interpretation from Early to Late Renaissance, and identify the specifics of Roman architecture interpretation in Italian and Northern Renaissance. The research methodology is based on a comprehensive art historical analysis, including formal-stylistic, iconographic, and comparative-historical methods. A systematic approach to studying paintings from different periods and schools of the Renaissance has been applied. The scientific novelty lies in systematizing and generalizing approaches to the reproduction of Roman architecture in Renaissance painting, revealing patterns of its transformation from early to late periods, and determining the peculiarities of antique architectural forms interpretation in different national schools. For the first time, a comprehensive analysis of architectural motifs evolution in the context of general Renaissance painting development has been conducted. Conclusions. Analysis of the artistic legacy of such masters as Giotto di Bondone, Masaccio, Fra Angelico, Raphael, Giovanni Bellini, Jan van Eyck, Paolo Veronese, and others has established that the incorporation of Roman architecture in Renaissance painting was systematic and manifested itself at compositional, technical, symbolic, and aesthetic levels. The study revealed that the Early Renaissance was dominated by the search for new spatial solutions based on ancient architectural forms, while the High Renaissance achieved a synthesis of Christian imagery with Roman architectural tradition, and the late period exhibited a free interpretation of ancient motifs. The distinctive features of the Northern Renaissance were identified, where Roman architecture was organically integrated with Gothic forms. The influence of theoretical treatises on the development of architectural motifs in painting has been traced.
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