The Renaissance — a self-conscious cultural revival that began in Florence in the early fifteenth century, spread across Italy and northern Europe over two hundred years, and ended somewhere in the early seventeenth — is the canonical case of deliberate cultural rebirth. The educated Italians of the period believed they were recovering the lost civilization of antiquity after a thousand-year medieval interruption, and they coined the label for that interruption precisely because it sat between the antiquity they were returning to and the present they were creating. Whether the break was sharp or a gradual continuation of medieval developments is a long-running historical debate; the conviction of a rebirth, and what was made under it, is unmistakably real.
The Italian Renaissance (~1400–1600) ran a distinct technical program. Linear perspective (Brunelleschi 1413, codified by Alberti 1435) gave painters geometric control over pictorial space; anatomical study, climaxing in Vesalius's 1543 De humani corporis fabrica, gave them control over the human body; oil paint, developed in Flanders and transmitted south by mid-century, gave them new chromatic range; and unprecedented patronage from the Medici of Florence, the Sforza of Milan, the Este of Ferrara, and the Catholic Church funded the program at scale. The signature works follow: Brunelleschi's Florence Duomo dome (1436), Donatello's bronze David, Masaccio's perspectival Trinity (1427), Botticelli's Primavera and Birth of Venus, Leonardo's Last Supper and Mona Lisa, Michelangelo's David and Sistine Chapel ceiling, Raphael's School of Athens, Bramante's Tempietto (1502) and the central plan first proposed for St. Peter's. The northern Renaissance — Jan van Eyck's Ghent Altarpiece and Arnolfini Portrait, Dürer's Self-Portrait at Twenty-Eight and Melencolia I, Bruegel's The Hunters in the Snow, Holbein's The Ambassadors, Bosch's Garden of Earthly Delights — developed in parallel, more naturalistic in detail and less classical-revivalist in program. Beyond visual art the period reshaped everything else: Renaissance humanism (Petrarch, Bruni, Ficino, Pico, Erasmus) recovered Greek and Roman texts and built the studia humanitatis that shaped European education for four centuries; Machiavelli's The Prince (1513) reinvented political analysis as the empirical study of power; Copernicus's De revolutionibus (1543) put the Sun at the center and set up the scientific revival that culminated in Galileo and Kepler. The period's self-image of recovering a lost classical greatness was historically inaccurate in the strict sense — the medieval period had its own continuities, and much of antiquity returned through Arabic translations preserved in Islamic civilization — but the creative output of two centuries of artists believing in a rebirth is unmistakably one of the great cultural episodes in recorded history.
The Renaissance's aesthetic vocabulary — perspective, anatomy, classical proportion, oil paint, the centrally-planned dome, the heroic nude, the masterpiece-by-named-genius — has not been displaced even by the modernist break with it, and nearly every Western art museum still organizes its galleries around Renaissance and post-Renaissance work. Renaissance studies remains a major academic field, and the cultural mythology — the artist as autonomous genius, Italy as the cradle of beauty, Florence and Venice as exemplary city-republics — has shaped tourism, education, and cinema. The Italian-Renaissance pattern of self-conscious cultural revival has been invoked deliberately by later movements — the Pre-Raphaelite Brotherhood, the Harlem Renaissance, the Bengali Renaissance, the Irish Literary Revival, the late-nineteenth-century Arab nahda, the American Renaissance — partly as nostalgia, partly as organizing trope, partly as recognition that occasional locally-concentrated cultural blossoms do happen, with the original Italian one as the template.