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Throughout the Renaissance period, some ofthe most important and more influential bases in the expressive means of the painting are going to be created. The memes units of information with which the culture is made up and, at that period, were creating in the paint world were crucial during several centuries, and in this way, it appeared what we can call the real genetics ofthe occidental painting. But art does not exist without intention; in every painting there must be a mixture of essential factors which module the shaper and settle the colors. We wonder how artists in the 1 5th and 16 th centuries faced up to their task of thrilling and moving and what role the color played in all that mess. Vasari, for instance, reminds us the work must represent with one blow the author's purpose and not something without meditating. Color and intention are joining together in artists's hands. A new kind of individual, the universal man appears. The artist's figure waved on the wind practically assuming the demiurgic characteristics ofthe divinity. In Marsilio Ficino's words skys could be built ifthe materials were found. Maybe the first thing needed in order to build a New World are dreams. God's dream had been Man and Man's dream was God. A God that in the Renaissance period took the shape of Utopia, Infinity and Freedom. Utopias of ideal states and cities, an infinity full of countless stars that destroyed the barriers of a Cosmos wrapped up in a fixed number of spheres and a freedom governed by the free will, able of granting the man an active role on his own destiny. Painting played a crucial role in this adventure of freeing the creator genius and dreamt of thinking up a harmonic visual world capable of setting up the high ideals ofhumanism in the spectator captivated by the beauty. Together with the dreams ofpainting, also the color dreamt a new order.
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