Perfection and Divinity

The Renaissance artists appear two main areas of concern. Most importantly is the objective of perfection. Perfection in art is considered as the best representation of both the physical and emotional aspects of the subject. Throughout the “Lives of the Artists,” Vasari frequently mentions the goal of perfection, limiting this adjective to very few accomplished artists, Da Vinci being one. His work is described as “nothing could be more inspired or perfect”(258), while pieces by other artists are praised but deemed “extremely sound even if imperfect” (88). Interestingly, perfection is not limited to subjects of purely artistic nature, but of the scientific realm as well. For example, Da Vinci’s work in observing the heavens is praised, but more so his work with both horse and human anatomy.

Another point of emphasis among Renaissance artists is divinity. The first page of the prelude immediately states that the ultimate source of art comes from “Almighty God,” who “fashioned the first forms of painting and sculpture in the sublime grace of created things” (25). God, after all, did create the first man out of clay. The theme of the divine continues as descriptions of Da Vinci’s artwork almost always include the depiction of a saint or the Virgin. One of Da Vinci’s most important pieces of work is the Last Supper. Taking a look at the artwork provided in the PowerPoint, there are also several instances in which the divine is depicted. For example, on the doors of Florence Baptistery the attempted sacrifice of Issac by his father Abraham appears, and the Holy Trinity combines both the artistic and scientific aspects of Renaissance art, in which particular emphasis is placed on the angles in the painting, along with the powerful image of God holding his son’s cross.