Davinvi vs Michelangelo: Who's the True Renaissance Man?

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The Renaissance was a period in eastern European medieval culture, which turned societies ideals to focus on man. It was a period of invention, self-exploration, and a growth of the arts and humanities. The general accepted terms of a Renaissance man, is a person who exemplifies the meaning of humanity, through arts, technology, politics, and philosophy. A person referred denoted today as a "renaissance man" is referring to them as a jack-of-all-trades, and are comparative with some of the most famous artists of all time. Michelangelo Buonarotti and Leonardo DaVinci are two names synonymous with the time period, but there are arguments bearing that there should be only one to idealize as the comparable "Renaissance Man". Michelangelo and DaVinci are both worthy of such a title, while many people only know of them for their paintings, both have accomplished so much more in their lives. However, DaVinci provided history with many more ideas and thoughts still discussed in modern society, and is more the ideal man of the renaissance

First, but probably least important, DaVinci and Michelangelo led very similar childhoods. Neither was encouraged in arts by their parents, and had originally wanted to be businessmen. They even had similar physical features, being short in stature, with long faces and a scruffy lengthy beard. More importantly, Michelangelo and DaVinci were skilled painters and artisans. They focused greatly on their works and often spent a great deal of time on projects. We can associate both artists with classical pieces, but many more people find it easier to connect DaVinci with the afamed "Mona Lisa". Each artist had their own personal tastes, but both frequently produced works of a religious connotation, striving with the ideals of the Renaissance and humanism, but Michelangelo usually only strived for accurate depiction of stories or tales, he painted, sculpted and depicted the human body, with an extreme accuracy, and attention to form,...
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