Renaissance (French Renaissance, Italian. Rinascimento) Epoch in the cultural and ideological development of a number of countries in Western and Central Europe, as well as some countries in Eastern Europe. The main distinctive features of the Renaissance culture: a secular character, a humanistic world view, an appeal to the ancient cultural heritage, a kind of “revival” of it (hence the name). The culture of the Renaissance has specific features of the transitional era from the Middle Ages to the new time, in which the old and the new, intertwining, form a peculiar, qualitatively new alloy. The question of the chronological borders of the Renaissance (in Italy - 14th-16th centuries, in other countries - 15th-16th centuries), its territorial distribution and national peculiarities is difficult.
The areas in which the turning point of the Renaissance epoch was manifested with particular clarity were architecture and visual arts. Religious spiritualism, ascetic ideals and the dogmatic convention of medieval art were replaced by a desire for realistic knowledge of man and the world, belief in creative abilities and the power of reason. The statement of beauty and harmony of reality, appeal to man as the highest principle of being, ideas about the harmonious pattern of the universe, mastering the laws of objective knowledge of the world give the art of Renaissance ideological significance and internal integrity. The collective experience of medieval masters gave way to the individual creativity of the artist and architect. The role of secular architecture (public buildings, palaces, city houses) and secular genres of fine art (portrait, landscape) has increased. The distinctive features of the Renaissance culture were most fully manifested in the art of Italy. The discovery of the sensual wealth and diversity of the real world was combined in Italian art with an analytical study of reality; The artistic system of a realistic image of the world was consistently developed and theoretically substantiated, supported by a scientific study of the laws of linear and aerial perspective, the theory of proportions, problems of anatomy, and light and shadow modeling. Ancient art was not only a classical heritage and model, but also served as a starting point in the appeal of Italian artists to nature, in an effort to more fully reveal the harmonious patterns of being. In the Italian art of the Renaissance, not counting the pre-renaissance phenomena of the turn of the 13th and 14th centuries. (Proto-Renaissance) distinguish between: Early Renaissance (15th century), High Renaissance (end of 15th — 1st Quarter 16th century), and Late Renaissance (16th century).
The leading commercial and industrial humanistic Florence (Florence School) became in the 15th century. focus of innovation in all types of art. Many works of Early Renaissance architecture were created here (F. Brunelleschi, Michelozzo di Bartolommeo, L. B. Alberti. B. Rossellino, J. da Mayano, J. da Sangallo). 
The antique order system, creatively rethought by Italian architects, introduced logical proportionality and harmonic clarity into the architecture of the Renaissance, enriched the tectonics of buildings.
Outside of Tuscany, the works of L. Lauran in Urbino and the colorful, still in many ways Gothic buildings of Venetian architects stood out. Experiments planning and construction of the city square (Pienza). district or city, the utopian dreams of Italian architects and theorists of architecture (Alberti, Filaret. F. di Giorgio Martini) and humanists about the ideal city opened up new perspectives to urban planning.
The artists of the Early Renaissance in Italy created a plastically integral, inherently unified concept of the world. By systematically studying nature, they drew motifs from everyday life, filled traditional religious scenes with earthly content, turned to plots of antiquity. 
The art of Renaissance, the main theme of which was the man-hero, gradually spread throughout Italy. The sculpture (L. Ghiberti, Donatello, Jacopo della Kerccha, the family della Robbia, A. Rossellino, Desiderio da Settignano, B. da Mayano, A. Verrokko) developed a freestanding statue, a promising scenic relief, reapistically portrait bust, equestrian monument. For Italian painting 15 century. (Masaccio, Filippo Lippi, A. del Castaño, P. Uccello, Fra Angelico, D. Girlandaio, A. Pollaiolo, Verrocchio and S. Botticelli in Florence, Piero della Francesca, L. Signorelli in Urbino, F. Cossa in Ferrara, A. Mantegna in Mantua, P. Perugino in Perugia, Giovanni Bellini in Venice are characterized by a sense of harmonious orderliness of the world, an appeal to the ethical and civic ideals of humanism, joyful perception of beauty and diversity of the real world, love of storytelling and a bold play of artistic fantasy.
In the period of the High Renaissance, the struggle for the ideals of the Renaissance acquired an intense and heroic character, reflecting the dreams of liberation and unification of the country. The nationwide rise was most vividly expressed in architecture and visual arts, marked by a synthetic generalization of reality and the power of heroic images full of spiritual and physical activity. Having developed in Florence, the classic style of the High Renaissance found its highest expression in works created in Rome; later, Venice (Venice School) became one of the leading centers. In architecture (D. Bramante, Raphael, Antonio da Sangallo) perfect harmony, monumentality and clear proportionality of architectural images reached its apogee; large architectural ensembles were created with perfection and artistic integrity of the plan, richness and variety of compositional solutions. The social position of the artist who occupied a worthy place in public life has changed. Creativity of the greatest masters of the High Renaissance in Italy (Leonardo da Vinci, Raphael, Michelangelo, Giorgione and Titian) had a versatility and breadth of coverage of the phenomena of reality.
From the 2nd quarter 16th century in Italy in the conditions of the onset of feudalism, and then the Catholic reaction, the art of the High Renaissance experienced a crisis caused by deep disappointment in the humanistic ideals of the Renaissance itself. 
As a consequence of this crisis, the art of Mannerism was essentially anti-classical. Creativity of the masters, faithful to humanistic ideals, has acquired a complex, dramatic character. The architecture of the Late Renaissance (Michelangelo, J. da Vignola, Giulio Romano, B. Peruzzi) increased interest in the spatial development of the composition: the buildings were increasingly subordinate to the town-planning concept, more actively interacting with the natural environment; the clear tectonics of the buildings of the Early Renaissance was replaced by greater tension and conflict. Renaissance types of societies of buildings, villas, palaces, the principles of composition of the city square and the district received a rich and complex development (J. Sansovino, G. Alessi, M. Sanmikeli. A. Palladio). One of the main themes of the paintings and sculptural works of the late Michelangelo and 
Titian's paintings have become the tragic intransigence of conflicts, the struggle and the inevitable death of the hero; unprecedented depth and complexity reached the psychological characteristics of images. The realism of the Late Renaissance (Paolo Veronese, Jacopo Tintoretto, Jacopo Bassano) was enriched with an understanding of the inconsistency of the world, interest in the image of mass action, folk images, the relationship of man and the environment, to spatial dynamics. Many features of the art of the Late Renaissance set the stage for new trends that developed in subsequent eras.
The periods of the development of Renaissance art in Italy and in the countries north of the Alps, as a rule, do not coincide in time, often differing in their formal and ideological content. The generally accepted, but conventional, notion of “Northern Renaissance” (c. 1500–40 / 80) is applied, by analogy with the Italian Renaissance, to 16th-century culture and art. mainly Germany, the Netherlands, France. At the turn of the 14th and 15th centuries. in the Netherlands, and later in France and partly in Germany, the birth of new features in the traditionally Gothic art, which received its full humanistic expression in the 15th and 16th centuries, is observed. One of the main features characteristic of Renaissance art in the countries of this region is its connection with the late Gothic style and the interaction of local traditions with the art of Renaissance Italy. In the development of the art of these countries there is no synchronicity, as there is no unity in the evolution of its various types (architecture, partly sculpture and decorative and applied art lagged behind in their development from miniatures and paintings).
The origins of the new, fundamentally realistic art of the Netherlands and France should be sought at the turn of the 14th and 15th centuries. in Burgundy, the center of the court-knightly late Gothic art. In the works of painters J. Maluel, A. Belschoz, M. Bruderlam, sculptor Klaus Sluter, in miniatures of the Limburg brothers noticeable striving to create a holistic picture of the world, interest and close attention to the beauty and diversity of the natural environment of man, to the individual characteristics of full of vitality ; A new realistic form (empirical attempts to transfer spaces of depth, interest in the luminous saturation of color, to the correct nature of the image of plastic volume) gave the old, in many respects more medieval ideas, new life content. 15 in. was a time of intensive formation of national European art schools, whose art, with all their local uniqueness, united an appeal to the real world as a source of artistic images, to the disclosure of individual personality traits, close observation of nature and admiring its beauty. 15th century Dutch school of painting. (altar paintings, portraits, miniatures), innovatively reworking the spiritual and artistic traditions of medieval culture, was the most important among the northern European schools: it was marked by an interest in man and nature, pantheistic perception of the world, close attention to the value and originality of every detail and every phenomenon, merged with spiritualized world and concealing a deep symbolic meaning (works of R. Kampen, the greatest master of this school J. van Eyck, D. Bauts. Hugo van der Goes, Rogier van der Weyden, X. Memling, etc.). At the turn of the 15th and 16th centuries. X. Bosch created satiric-moralizing paintings in which he turned to the heritage of medieval culture. In the 16th century classical principles of the Renaissance penetrated into the architecture of the Netherlands from Italy and France, but they did not receive the prevailing development. Influenced by humanistic ideas and reformation movements of the 16th century. the religious picture lost its leading meaning, secular genres were developing: portrait (A. Mor), landscape (I. Patinir), everyday genre (Luka Leidensky). The eclectic trend of Romanism, which imitated the artistic methods of Italian art, was opposed by art based on national traditions, which widely reflected the life of the people and the social contradictions of the era. His most prominent representative was P. Bruegel.
The beginning of a new stage in the development of German art dates back to the 1430s. (L. Moser. H. Mulcher, K. Vic). Actually the Renaissance began in Germany at the turn of the 15th and 16th centuries. and ended already in the 1530s – 40s. The art of the Renaissance in Germany was closely connected with the national late Gothic tradition and bears the imprint of class battles. He was greatly influenced by the ideas of the Reformation and the Peasant War of 1524–26, giving it a largely social, and often class, orientation. The peculiarity of the German Renaissance is revealed in the painting and graphics of A. Dürer, M. Niethardt, L. Cranach the Elder, A. Altdorfer, X. Holbein the Younger, in sharp publicism of easel and book graphics, sculpture by T. Riemshnieider, F. Shtos, A. Kraft and etc.
In France, the art of the Renaissance developed on the basis of rich local Gothic traditions; acquaintance with the ancient heritage (especially in the south of the country), cultural ties with Italy and the Netherlands contributed to its formation. 
For French art 15. characterized by subtle poetry and soft lyricism, the desire for an illusory transfer of space, the sharpness of life observations (sculpture by M. Colomb, portraits and miniatures by J. Fouquet and S. Marmion, paintings by the Moulin master, J. Fouquet, etc.). In the 16th century under the conditions of emerging absolutism, the art of the French Renaissance flourishes. An increased interest in the human person was manifested in a pencil and pictorial portrait (J. Clouet Jr., Corneille de Lyon, E. and P. Dumustier). In sculpture, the humanistic ideal of the Renaissance was expressed in the classically perfect images of J. Goujon. The contradictions of the Late French Renaissance, the intensification of the dramatic principle manifested themselves in the sculptural groups and portraits of J. Pilon. From the 2nd half of the 15th century in the architecture of France, an elegant Renaissance style is formed, which manifested itself in royal and noble castles, as well as in urban mansions (P. Lescot, F. Delorme, J. Ducerceau, J. Béllan). 
Elements of the Renaissance style in the art of England (to a large extent influenced by X. Holbein the Younger who worked in England) found expression in a miniature portrait (N. Hilliard, A. Oliver), in the estate (rational planning brick houses with a hall and gallery) and palace construction.
In Denmark, Sweden and Finland, the Renaissance features were manifested mainly in the architecture of castles, manors and public buildings.
Under the influence of Giotto and Siena painting, as well as Dutch art in Spain, a national style was formed on local soil, dominated by harsh, ascetic expressive figures and faces, solemn decorativeness. The traditional tendency to lush decorativeness spawned in the 16th century. plateresco style, in which the rich sculptural decoration completely covered the walls, structural division of buildings. In the 16th century The growing influence of Italian Renaissance art was fruitfully used in the works of A. Berruget, D. de Siloé, A. Sanchez Coelho, and others. In the images imbued with spiritualism and mysticism, the tragic contradictions of the epoch of Catholic reaction were expressed (L. Morales, El Greco).
The art of Portugal developed in ways similar to Spain, possessing, however, local originality (N. Gonçalves). The architectural style of Manueline (early 16th century) differed from the Spanish plateresque in its greater brevity and restraint of decor.
The major centers of culture and art of the Renaissance were also the countries of Central, Eastern and Southeastern Europe - Croatia, Hungary, Poland, the Czech Republic and Slovakia. In Croatia, Renaissance culture flourished in the 15th and early 16th centuries. in the rich trading cities of the Dubrovnik Republic on the Adriatic coast (Dubrovnik, Trogir, Sibenik), which were impacted by Italy (Venice and Florence). Separate Renaissance features in architecture coexisted here with the local medieval (Romanesque and Gothic) traditions (built by Juraj Dalnatins, Nikola Florentine). Renaissance decorative sculpture (architectural and sculptural decoration of the Ursini Chapel in the Cathedral in Trogir. 1468-beginning of the 16th century, the Cathedral in Sibenik, etc.) and altar painting (N. Bozhidarevich, L. M. Dobrichevich, etc.) reached a high level. . The conductor of the influences of the Italian Renaissance in Central and Eastern Europe was in the 15th century. the court of the Hungarian king Matthias Hunyadi (Corvina), where the Italian masters worked. 
The Renaissance style, planted in the area by the local aristocracy, became widespread in the 16th and early 17th centuries. In its purest form, it manifested itself in the architecture of palaces (in Buda and Visegrad, now in Budapest, Krakow, Prague, etc.) and castles (in the Czech Republic, Slovakia and Poland), which used order architectural elements (in the design of portals and arcade interior courtyards), as well as in the decoration of church chapels (Chapel Bakotsa in Esztergom and Hungary; Sigismund Chapel in the Cathedral on Wawel in Krakow, Poland). In urban construction (town halls, houses of rich citizens), some forms of Italian Renaissance architecture were sometimes combined with the influence of Dutch Mannerism, as well as local building traditions, which gave the architecture of each country unique national features (buildings in Krakow, Torun, Kazimierz Dolny, in Poland ; in Prague, Tabor, Telce, and others — in the Czech Republic: in Levoche, Presov, and others — in Slovakia). По схеме «идеального» ренессансного Возрождения, созданной итальянским архитектором Филарете, выстроены замки в городах Нове-Замки (Словакия) и Замосць (Польша; оба—1580). Высокого уровня в Центральной и Восточной Европе достигли алтарная скульптура сочетавшая поздне-готические и ренессансные черты (работы В. Ствоша, Польша, и Павла из Левочи, Словакия), а также миниатюра, стенная и алтарная живопись (мастер Литомержицкого алтаря, Чехия; Мастер «MS», работавший в Словакии и Венгрии). Широкое распространение в Польше получили ренессансные скульптурные надгробия (Я. Михалович из Ужендова и др.). Развивались многие светские виды и жанры декоративной росписи - сграффито, портрет и др. В 16 в. влияния искусства Возрождения проникли также в Трансильванию (ныне северо-запад Румынии), Западную Украину (дома на пл. Рынок во Львове) и Литву (Вильнюс, Каунас и др.).
Some scientists are inclined to a more extensive use of the concept of "Renaissance", without limiting it to the territorial framework of Europe. A number of Orientalists draws attention to the Renaissance cultural features of individual countries of Asia and the Caucasus in certain historical periods (for example, China 8-12 centuries., Transcaucasia 12-13 centuries) and considers it possible to talk about the Renaissance in China, the Caucasus. Revival is thus viewed as a world-historic phenomenon. But this problem remains controversial and controversial in science.
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