Brucker 6: Culture...Note the 'Capitalism - Art' article I send around.

1. Foundations and Premises [213]
   1. [213]. Why was this society so creative, so receptive to change and innovation? Factors:
      1. a long tradition of technological skill and innovation in the crafts
      2. interest in classical studies stimulated an interest in antiquity where there was much of value to recover.
      3. [214]. two distinct sources:
         1. Greco-Roman-Christian tradition ['Latin']: universal, hierarchical, authoritarian. Professional, formal education, legal, theological; based in monastaries and university, but everywhere visible..
         2. Vernacular ['Italian': oral tradition, visual; based in mercantile/commercial / artisan world
      4. [215]. not only variety and complexity, matched elsewhere, but the close rapport between the cultural traditions. Dante absorbed both traditions [Latin and vernaculasr]: universality of he classical and Tuscan vernacular. Giotto working in a traditional Christian context “humanizes” his subjects, making them more lifelike and naturalistic.
   2. [216]. Derived by Franciscan emphasis on Christ’s humanity [and less on his divine nature]; and the self-confidence of the bourgeoisie of F. Factors fostering cultural vitality include then: Life of St. Francis
      1. Complexity of social structure
      2. Variety of intellectual interests of bankers and entrepreneurs.
      3. History of fruitful exchange between traditions. The aristocracy was intimately involved in patronage and in discussion.217. Role of open discussion. Artisans and the wealthy sat together in signoria, a political tradition that facilitated intellectual discussion between patrons and artists. 217. the salon: drawn from all social classes [218]. Variety important so that no single tradition could dominate; secular learning flourished, the church’s role as censor was minimal. 219. cultural pluralism. "Florence was saved by the chronic weakness of the university." Explain??
   3. Social and institutional elements which promoted creativity and innovation
      1. The unique Florentine historical experience as a mercantile republic. Role of risk taking, astuteness, fortitude
      2. High degree of social and economic mobility.--> appreciate of quality.220-1.
      3. Sensitivity to physical environment and an introspective interest in themselves.
2. Cultural Patronage in Renaissance Florence: structures, motivations, trends
   1. [222]. The conventional explanation: the new social class, the urban bourgeoisie became the patrons of culture; able to purchase the achievements that brought them and their city fame and glory. But what were the methods by which this society nourished culture?
      1. 223. intellectual activity was functional. Related to vocational and professional purposes and satisfaction of social needs. Level of education high: up to 10,000 in school, 1000 in advanced study, another 500 in academies. Literacy rate about one-third of men. Education value also among the underprivileged. Guild instruction also of high order and attractive to outsiders. Wealth yes, but used to support art and culture
      2. [224]. Rewards. [226] official recognition of intellectual and artistic distinction. Public office, university professorship, tax exemptions, state funerals. Also public commisssions and competitions to award artistic contracts (public discussion).
   2. [227]. by mid 15 th cent, the private patron replaces the public patron. University never flourished. Wealthy could send children elsewhere. Tendency for humanistic studies (rhetoric, moral philosophy, poetry) to flourish in private context; learning becomes more private, aristocratic and exclusive. Platonic academy [229]: privacy, intimacy, learning pursued for its own sake. Same trend observed also in arts. In 14 th cent. Patronage from public/corporate (signoria/guilds) to private contracts for private purposes.
3. Florentine Humanism: its evolution and significance
   1. [230]. The emergence of classical antiquity as a major focus = rise of humanism. Broadening of study from the purely literary to include architecture, sculpture, math, science. [231]. its influence on contemporary values?? And its role in stimulating changes in the way florentines viewed their world and themselves. Interest in AncRome a constant; Livy and Horace, Roman Law provided basis for prosaic tasks of writing wills, deeds, contracts; but also led to study of classics as an avocation / cult. To become an insider, one had to know the "code".
   2. [232]. Salutati: chancellor, but also sponsor of group of scholars who met privately. Scholarship enhanced political reputation, but reputation and social standing enhanced scholarship. [233]. classical studies made relevant to the world --> precision of language; oral eloquence (where persuasion counted. was a political asset; 234. eulogizing political freedom and liberty, praising the republican ideas.
   3. Civic humanism: Baron: the immediate crisis of the early 15 th C. and the threat to the city’s independence had a profound effect on the citizens commitment to republican ideals of liberty. [235] The humanists became the leading exponents of those political values and the most articulate propagandists of Florentine republicanism. New civic virtues: participation in public affairs, justification of the active life in city and trade; acquisition of wealth not an impediment to knowledge and salvation, but instead a resource to be used in the promotion of learning and morality.
   4. [236]. Was the immediate crisis the major explanation, or were there other considerations arising from on-going humanist thinking. The central question is the nature of the relationship between ideas and experience.
   5. [237]. There was already a well establish critical and introspective judgment of florentine institutions. Humanism provided the structure for re-examining their values and goals.
      1. [238]. Republican Rome and Flor merited highest praise (the natural sympathy). To administer effectively one must look to the past for guidance.
      2. [239]. the opening of the city of outsiders; to be the setting of a major historical event.
      3. [240]. Change in currciulum to reflect an increasing focus on the Classics (and less on church)
4. The Artistic Revolution [240] Some images: Bellini ; Fra Angelico1; Fra Angelico2, adoration .
   1. [240]. The distinctive feature: interest in and intensive study of ancient art; the rediscovery of the formulas and principles the guided artists and architects. Greater realisim; perspective and proportion; organization of space.
   2. [241]. the problem: to what extent were changes in the plastic arts influenced by the transformation of the intellectual milieu, or by a significant recasting of the political and social order. The bourgeois vs. the Marxist perspective.
      1. 242. F had advantages: size, wealth, tradition of excellence in crafts, communal and private patronage of art both sacred and secular.
      2. [243]. in the 14 th C art still in hands of artisans, but goldsmiths were especially innovative and supportive of change; early artists were autodidacts. Use of proportion, perspective, light and shadow to intensify the experience of reality.
      3. [244]. Patriciate’s enthusiasm for classical forms is important but not adequate to explain, but interest in classical material and study of the mathematical ratios developed among the artisan class --> free standing statues, the orphanage; doors
      4. [248-9]. The personality of the artists to emancipate themselves from the restrictions of the guild/craft. And to gain recognition for compensation for their greater “expertness”. Possible because of tradition of communication and cooperation that developed between artists and humanists. The idea of progress as a result. Example: public discussion of the Baptistry doors.
   3. [250]. Two styles:
      1. Renaissance: order, coherence, regularity, mathematical laws that grew out of mercantile world
      2. International Gothic: richer, flamboyant, elegant, space crammed, somewhat more secular and courtly.
5. [252]: summary:
   1. age of discoveries by individual artist (proportion, perspective)
   2. patriciate response to new style as defining of own values.
   3. The collective experience of the community. –public discussion
   4. [253] trend to fewer public funds and less public discussion and more private and personal
   5. [254] The best art was religous and done for religious communities. Secular more personal and of a lower order.

Classroom Report: What factors made Florentine society so creative, so receptive to change and innovation