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Gothic Painting in Italy
Duccio, Martini, Lorenzetti
Cimabue and Giotto
Example of French Late Gothic Painting
Italy and France in the 14th Century
The Great Western Schism
• In 1305, the college of Cardinals, the body that elects a pope, elected
an French pope: Clement V.
• Despite his assurances that he would return to Rome, Clement
established his papacy in Avignon, France.
• By 1378, the Italians, especially the Romans were fed up h with the
French popes in Avignon and they elected a Roman Pope: Urban VI
• For about 40 years there were two popes, one in Avignon and one in
Rome.
• After forty years, the Holy Roman Emperor convened a council to
resolve the issue by electing a new pope, Martin V, who was
acceptable to everyone.
Gothic Painting
• Wall painting, common elsewhere in Europe, became a preeminent artform in Italy.
• Painting on wood panels also surged in popularity.
• Less room on walls, lots of windows and high vaults in cathedrals
• Altarpieces were commissioned not just for the main altars ofcathedrals, but for secondary altars, parish churches and privatechapels as well.
• This growing demand reflected the new sources of patronagecreated by Italy’s rapidly growing urban society.
• Economic changes throughout Europe, centering on banking andcommercial interests in Italy, began to emerge as powerful forces inthe shipment and circulation of goods in the region.
• Late Gothic art in Italy forms a bridge between Medieval andRenaissance arts.
• During this period, two very important school’s of painting emerged inSiena and Florence, rivals in this as in everything else.
Bonaventura Berlinghieri
St Francis Altarpiece
Tempera on panel, 1235
Italian
Gothic Painting
• The trend in later Gothicsculpture was to liberateworks from the wall, allowingthem to occupy spaceindependently of theirarchitectural framework.
• In that same way, Italianpainting of the late Gothicperiod is characterized bylarge scale panels that standon their own as works of art.
Ekkehard
and Uta
c.1250
Germany
Last
Judgment
St. Lazare
c.1120
France
Giotto
Lamentation
1305
Italy
Duccio GiottoSiena Florence
Sienese PaintingDuccio, Martini, Lorenzetti
Characteristics
of Sienese Painting
• More decorative style, not unlike
Northern European art.
• Lots of gold in the backgrounds.
• Figures are thinner and more
elongated than in Florentine painting.
• Colors are rich and decorative, lots
of fine lines, not very much volume
of shading.
• More likely to reach deep into the
picture plan in creating space.
• Often another room is reveled
through an open doorway.
Blanche of Castile and Louis IX
Manuscript
c. 1228
French
Duccio, Seizing of Jesus, c1310, panel
Duccio di Buoninsegna
• Duccio di Buoninsegna was thefirst great Sienese painter.
• He stands in relation to theSienese School as Giotto does tothe Florentine.
• Yet without the powerfulnaturalism that makes the art ofGiotto so revolutionary.
• Rather, Duccio sums up thegrave and austere beauty ofcenturies of Byzantine traditionand infuses it with a breath of thenew humanity which was beingspread by the new Orders of SS.Francis and Dominic.
Duccio
• Siena’s foremost painter, active1278-1318.
• In his painting, he combined bothByzantine and northern Gothicinfluences, in a style sometimesreferred to as, Maniera Greca
• Duccio and his studio painted thegrand Maesta (majesty) Altarpice,for the main altar of Siena Cathedral.
• Creating this altarpiece was atremendous undertaking.
• The central panel alone measures7x13 feet, and it had to be painted onboth sides because the altar was inthe center of the sanctuary.
Maesta AltarpieceDuccio, 1308-11
Sienna, Italy
The Maesta was broken up in the 18th century. This main scene
depicting the Virgin and Child was once accompanied above and
below by narrative scenes from the life of Christ and the Virgin.
• Tempera on wood
• Created for the main altar of Siena Cathedral
• Only signed work by Duccio
• Hieratic arrangement of figures
• Back of Duccio’s Maesta
• Scenes from the Life of Christ
Duccio
Crucifixion, 1310
AnnunciationSimone Martini
Siena Cathedral
Italy, 1333
Tempera and gold
on wood panel
• May have been anassistant to Duccio
• Gold leaf and punchwork, typicallySienese.
• Elegant figures focus onthe psychologicalaspects of theAnnunciation.
• Only bare essentials areincluded.
• International Gothicstyle of painting.
• Birth of the Virgin
• Pietro Lorenzetti.
• 1335-1342
• Siena Cathedral, Italy
• Triptych, tempera and
gold on wood
• Gothic elements
• More robust and life like
style, includes a well
furnished somewhat
realistic interior.
• Some sense of space, note
the doors and windows
• Forerunner of the birth of
Jesus,
• It is easy to spot
the Gothic
references in
this painting,
but do you see
anything that is
reminiscent of
the Classical
style?
Ambrogio Lorenzetti
Good Government in the City and the Country1338-1340, fresco, Palazzo Publico, Siena
• Frescos are located in thePalazzo Publico Siena’sGothic style town hall,where judges met to hearcases
• Inscriptions on the fresco arein both Latin and Italian,reflecting a highly educatedsociety
• One section of the frescoillustrates a city scene
• The other section is acountry landscape
• There are also frescosillustrating the results of badgovernment
City View from
Good Government in the City and the Country
• Scene is viewed from a high viewpoint
• Town appears to be prosperous, a result of good government
• People are happy, some dance in the streets
• Crafts and trades flourish, food and goods are being brought into the city andbuilding is flourishing
Country View from
Good Government in the City and the Country
• Peaceful villas in the countryside, again viewed from above
• Evidence of a plentiful harvest, vineyards, orchards, etc.
• Port in distance, represents trade and commerce
• Gallows represents fair judgment for all
• Rich folks head out to the countryside to go falconning
• Farmers head into the city with their livestock and grain
Florentine PaintingCimabue and Giotto
Characteristics of
Florentine Painting
• Usually frescos done in tempera right into
the wall, which allowed for greater modeling
and shading
• Early Florentine painters like Cimabue
painted in a more traditional Byzantine style,
called Maniera Greca, not unlike Ducciotop left
• Later painters followed Giotto’s leadership
creating more full bodied figures that were
firmly anchored in space.
• Facial features began to exhibit more
emotion and expression, bottom left
• Compositions move away from a center
only focus.
Cimabue and Giotto
• In Florence, the transformation of theItalian/Byzantine style began somewhat earlierthan it did in Siena.
• Duccio’s Florentine counterpart was an olderpainter known as Cimabue.
• Cimabue employed Byzantine formulas indetermining the proportions of his figures, theplacement of their features and even the tilts oftheir haloed heads.
• However, Cimabue’s concern for spatialvolumes, solid forms, and warmly naturalistichuman figures contributed to the course oflater Italian painting.
• According to legend, Cimabue discovered atalented shepherd boy, named Giotto di Bondone,and taught him how to paint.
• Giotto went on to outshine his teacher
CrucifixCimabue
Tempera on wood
1268-71
Detail of Cimabue’s
Crucifix. 1268
feels very Byzantine
Christ Pantokrator
mosaic, Greece,
ca. 1080-1100
Virgin and Child EnthronedCimabue.
C. 1280, Florence, Italy
gold and tempera on wood
• Almost 12 feet high
• Follows Byzantine
iconography of the Virgin
pointing the way; she points to
Christ as the path to salvation.
• Interesting spatial ambiguities,
the Virgin’s thoughtful gaze,
and the well observed faces of
the old men are all departures
from tradition that enliven the
picture.
Cimabue details
Giotto di Bondone, 1267-1337
Giotto's contemporary Giovanni Villani
wrote that Giotto was "the most sovereign
master of painting in his time, who drew all
his figures and their postures according to
nature. And he was given a salary by the
commune [of Florence] in virtue of his
talent and excellence.”
The later 16th century biographer Giorgio
Vasari says of him "...He made a decisive
break with the ...Byzantine style, and
brought to life the great art of painting as
we know it today, introducing the technique
of drawing accurately from life, which had
been neglected for nearly 800 years”.
Giotto di Bondone
c.1267-1337
• Proto-Renaissance artist
• Florentine painter and architect.
• Outstanding as a painter, sculptor,and architect, Giotto was recognizedas the first genius of art in theItalian Renaissance.
• Giotto lived and worked at a timewhen people's minds and talents werefirst being freed from the shackles ofmedieval restraint.
• He dealt largely in the traditionalreligious subjects, but he gave thesesubjects an earthly, full-blooded lifeand force.
Giotto was also an architect and
designed the bell tower
outside the Florence Cathedral
Virgin and Child EnthronedGiotto
Florence, Italy c. 1310gold and tempera on wood
• Compared to Cimabue’s
Virgin Enthroned, this piece
exhibits a groundbreaking
spatial consistency and
sculptural solidity.
• By rendering the play of
light and shadow across
their substantial forms, he
has created the sense that
his figures are fully three
dimensional beings
inhabiting real space.
Cimabue Giotto1280 1310
How are they
different?
The Arena ChapelPadua, Italy
• Giotto’s masterpiece is thefrescoed interior of the Arenachapel built for the Scrovegnifamily in Padua
• Painted about 1305
• While painting in the churchof Saint Anthony in Padua,Giotto was approached by alocal merchant, EnricoScrovegni to decorate a newfamily chapel.
• The Chapel named for anearby ancient Roman arena isa simple barrel vaulted room.
Capella degli Scrovegni
• It is often suggested that Enrico
built the chapel in penitence for
his father's sins.
• Enrico's father, Reginaldo degli
Scrovegni is the usurer
encountered by Dante in the
Seventh Circle of Hell.
• Though Enrico devoted a
paragraph in his will directing
his heirs to make restitutions, his
true motivation is unknown.
• Enrico's tomb is in the apse, and
he is also portrayed in the Last
Judgment presenting a model of
the chapel to the Virgin.
• Set inside the painted framework of a rectangular narrativescenes, Giotto juxtaposedscenes from the life of theVirgin with that of Jesus.
• Both the individual scenes andthe overall program displayGiotto’s genius for distilling acomplex narrative into acoherent visual experience.
• Among Giotto’s achievementswas his ability to model formwith color.
• He rendered his bulky figures aspure color masses, painting thedeepest shadows with the mostintense hues.
This diagram outlines
The program of paintings
in the Arena Chapel.
Marriage of the Virgin
The Visitation
The Nativity
Flight into Egypt
The Baptism
of Christ
• The Betrayal
How do they differ?
• In the moving work,The Lamentation,Giotto focused thecomposition formaximum emotionaleffect off center, onthe faces of Maryand the dead Jesus.
• A great downwardswooping ridge, it’sbareness emphasizedby a single dry tree,a medieval symbolof death, carries thepsychologicalweight of the sceneto it’s expressivecore.
• Giotto conveys real
human suffering,
drawing the viewer into
the circle of personal
grief, the direct
emotional appeal of his
art as well as its
deliberate plainness,
embodies it’s Franciscan
values.
These two frescos were across from each other in the chapel
• Remember thisdetail of thesleeping Romansoldiers.
• You will soon see agreat similarity inthe same subjectpainted by Pierodella Francesca inthe EarlyRenaissance.
• Giotto coveredan entrance wallof the chapelwith a scene of
The LastJudgement
• Watch for asimilar paintingby Michelangeloin the SistineChapel
Still a very Gothic
version of Hell
The Legacy of Giotto
• In common with other artists of his day, Giotto
lacked the technical knowledge of anatomy and
perspective that later painters learned.
• Yet what he possessed was infinitely greater than
the technical skill of the artists who followed him.
• He had a grasp of human emotion and of what was
significant in human life.
• In concentrating on these essentials he created
compelling pictures of people under stress, of
people caught up in crises and soul-searching
decisions.
• Modern artists often seek inspiration from Giotto.
• In him they find a direct approach to human
experience that remains valid for every age.
Gothic PaintingSienese, Florentine and the Future
• Sienese painting was a key contributor to the development of
the International Gothic style, we will soon study.
• But it was Florentine painting in the style originated by
Giotto and kept alive by his pupils and his followers, that
was fundamental to the development, over the next two
centuries, of Italian Renaissance Art.
• However the last sixty years of the 14th century were a difficult
and disastrous time.
• Italy, as well as the rest of Europe, was transformed by
uncertainty and desolation by epidemics of the plague.
• However, as the 14th century drew to a close, the European
middle ages gave way to the marvels of the Renaissance.
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