Viacheslav Tsivatyi
Diplomatic Academy of the Ukraine Ministry of Foreign Affairs, Ukraine
The era of transition from the Middle Ages to the Renaissance is rightly recognized as a period of innovative artistic solutions in French art and is characterized by an unprecedented intensification of political and diplomatic art relations. Diplomacy is a science and at the same time an art to settle the inter-state relations. At the turn of the Middle Ages and Early Modernity new institutional features and the typical trends in the theory and practice of the French Renaissance art were clearly identified. This period is recognized as transformational — the picturesque achievements of the previous period are subjected to reinterpretation, artistic processes are intensified and institutionalized in new establishments and schools of painting (A. Quarton, N. Froment, B. d’Eyck, J. Hey, J. Fouquet etc.).
The article also focuses on the following aspects: foreign institutional factor of French Renaissance art model; value and institutional art orientations of the French Renaissance period; new forms of political and diplomatic organization and art institutionalization during the French Renaissance period, the conceptual bases of institutionalization and the classification of the humanities; new forms and tools of the humanities in France; forms and methods of treatment of the historical experience studia humanitatis in scientific or educational establishments. Institutionalization and implementation of new models of relations between art, science and society as a constant of Early Modern Period occurs exactly during the Renaissance in France.
Thus, at the turn of the Middle Ages and Early Modern period the French art passes its institutional path and reveals new artistic and institutional forms with distinctive national characteristics under the influence of the multiplicity of stylistic trends and external influences (so-called institutional model of French Renaissance art). Renaissance trends firstly found their institutional consolidation in the garden art and architecture, while retaining special features, balanced dualism and fluctuation in painting and sculpture.