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ART 201: HANDOUT 20, ITALIAN GOTHIC ART AND ARCHITECTURE Gothic: a style of art and architecture which arose in France ca. 1150-1200, and which spread throughout Europe by 1250. Gothic remained the dominant style in European art until ca. 1450. Artists of the style were interested in telling a story (usually Christian) and they generally show little interest in the realistic evocation of space or correct anatomy and three-dimensionality of figures. Gothic art usually has a strong and decorative surface pattern. French Gothic churches use stained glass for effects of color, and usually have tall interiors with rib-vaulting. The exteriors of these churches have much pointed decoration. Santa Maria Novella, Florence: Italian architecture emphasizes the presence of its walls, in contrast to architecture in northern Europe, which tends to "de-materialize" its walls for spiritual effects. This can be seen in Santa Croce (Holy Cross), the Dominican Church in Florence begun in 1246. It has ribbed vaults, but a low ceiling and small windows. Florence’s Cathedral, begun in 1296 but finished in the 15th century, is in much the same style. Nicola Pisano: sculptor who moved to Pisa from southern Italy ca. 1250. His Pulpit for Pisa's Baptistry (ca. 1260) has a basically Gothic format, but shows a strong Classicism in its style, especially in its massive figures (Nativity etc.). Giotto: Late Gothic painter from Florence active c. 1300-1337. Most notable work is the Arena Chapel in Padua (c. 1305). Scenes such as “The Lamentation” show massive figures which strive to achieve three-dimensionality and an attempt to place his figures within a real space. His limited success in these goals and the heavy drapery which swath his figures demonstrate that he remained a Gothic artist, but his work presages the Italian Renaissance (see the Madonna in Majesty, c. 1310).

Duccio: Sienese painter active ca. 1280-1315. His greatest work was the Maestà altarpiece for Siena Cathedral, depicting the Madonna and Child enthroned amidst saints (1308-1311).The back shows scenes of Christ's Life. Duccio was a beautiful colorist, but shows less interest in realistic space and 3-D figures than Giotto. On the back of the Maestà, the scene of “The Entry to Jerusalem” shows Duccio’s gift at describing Biblical events with everyday life details. Good Government in the City: Ambrogio Lorenzetti, a Sienese painter, died in the Black Death in 1348 which essentially ended Italian Late Gothic painting in the 14th century. Ambrogio's great fresco cycle, the "Allegory of Good and Bad Government in the City (and Country)", was painted 1338-1340 in Siena's town hall. It illustrates the growing use of art for non-religious purposes. The Allegory of Good Government, which survives in good shape, presents us with a fairly realistic view of a 14th century Italian city-state, and shows a wealth of genre (everyday life) detail. Its view of the countryside is the first panoramic landscape since ancient Rome. These are subordinated to an overall medieval format: cataloguing the activities which go on in a well-governed city. The work of Lorenzetti looks forward to the Renaissance, but he remained a Late Gothic artist.

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ART 202: HANDOUT 2, NORTHERN EUROPEAN AND LATE GOTHIC ART OF THE 15TH CENTURY

International Gothic: a style of Gothic art which arose ca. 1380 throughout Europe, and which remained the dominant style until ca. 1425. Develops out of Italian painting of 1300-1348. The style shows a limited naturalism in its figures and space, but its most notable characteristics are the delicate fantasy-like quality of its scenes and the aristocratic grace of its figures. The figures are often swathed in heavy cloth. Melchior Broederlam, the Limbourg Brothers and Gentile da Fabriano are all artists of this style. Limbourg Brothers: International Gothic book illuminators from Flandars (part of modern Belgium) who worked mainly in Paris. Their sumptuous illuminated book Les Tres Riches Heures du Duc de Berry (1413-16) shows the fantasy-like qualities of the International style, but some realism of the figures and their actions (October).

Robert Campin: Previously known as The Master of Flemalle, a well-documented Flemish painter of the first half of the 15th century. Known for the Merode Altarpiece (ca. 1425), which depicts the Annunciation in a precisely realistic style but with incorrect perspective. One of the first artists to paint with oils. Jan van Eyck: Flemish painter who completed the Ghent Altarpiece in 1432 after the death (1426) of his brother Hubert, who began it. This enormous work depicts Christ enthroned with the Virgin and John the Baptist above an Adoration of the Lamb (Rev . 5), when open, and the Annunciation and Donor portraits, when closed. Jan is also known for the Arnolfini Wedding Portrait (1434) and the Man in a Red Turban (1433), perhaps a self-portrait. Van Eyck used a precisely realistic style which is marred only by the incorrect perspective. He also used oil paint. Rogier van der Weyden: Flemish painter of the middle of the 15th century (died 1464) who added a dramatic note to the realism of Flemish painting (Descent from the Cross, ca. 1435), but who also returned to the traditional gold background to emphasize the religious character of the scene. His portraits show an interest in presenting the character of the sitter (Portrait of a Lady, c. 1460). Hugo van der Goes: Flemish artist of the Portinari Altarpiece (c. 1476), which shows an Adoration of the Child, starring highly realistic shepherds. It was taken to Florence in 1483, where its realism impressed Italian Renaissance painters. Martin Schongauer: Early Master of engraving from Germany, whose work illustrated the new printed books of the 15th century. His work includes The Temptation of Saint Anthony (or Saint Anthony Tormented by Demons), ca. 1480-90.

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ART 202: HANDOUT 2, EARLY RENAISSANCE ART IN FLORENCE Filippo Brunelleschi: Florentine architect known for his application of the Classical design principles of order and harmony as achieved through mathematical ratios ( Pazzi Chapel, 1442 on). Probably also the devisor of scientific perspective.

Lorenzo Ghiberti: sculptor known for his bronze doors for the Baptistry at Florence. The first doors (ca. 1403-1425) are International Gothic in style, but show an interest in anatomy unusual for that style. The second set of doors (ca. 1425-1445) are Early Renaissance in style (Story of Jacob and Esau), and feature classicizing figures in a space devised by single point perspective. Donatello: Florentine sculptor who adapted the Classical principles of sculpture to Renaissance themes. His works show a deep spirituality, and, at times, complicated symbolism: Saint Mark (1413), David (ca. 1443-60). The relief of the Feast of Herod (1427) has an early use of single-point perspective, as well as an interesting psychological interpretation of the scene. The Equestrian Monument of Gattamelata (1450) is one of the first secular monuments of the Early Renaissance, depicting an ideal ruler on horseback. Antonio del Pollaiuolo: sculptor and draftsman of active and muscular figures, often with Classical themes (Hercules and Antaeus, c. 1475). Andrea del Verrochio: sculptor and teacher of Leonardo da Vinci. Most notable work is the Equestrian Monument of Colleoni at Venice (1483-1496), an expressive image of a domineering mercenary general. Masaccio: Florentine painter who, between 1425 and his untimely death in 1428, instituted single-point or scientific perspective in painting. His figures returned to the noble monumentality of Giotto. Works: The Trinity (ca. 1427), The Tribute Money (ca. 1427), together with natural features like shadows. Fra Angelico: monk and painter of fervent and other-worldly Christian images, using single-point perspective (Annunication, c. 1440). Paolo Uccello: often humorous painter who notably used perspective to create an early piece of decorative painting for the Medici Palace, oddly depicting a battle Florence won (Battle of San Romano, 1455?). Andrea del Castagno: Florentine painter of the middle of the 15th century whose works show a dynamic, linear style (The Last Supper, ca. 1450). Sandro Botticelli: Florentine painter of the 2nd half of the 15th century known for his graceful, linear, if otherworldly, style. He is best known today for his Classical allegories which illustrate the Humanist themes current at the court of Lorenzo de' Medici (Primavera, 1482).

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Andrea Mantegna: northern Italian painter of the 2nd half of the 15th century known for his linear, sculptural style and strong devotion to Classicism. The Camera Picta (or Camera degli Sposi) of the ducal family at Mantua (1474) is an early and delightful secular ensemble depicting the life of the Gonzaga family, especially its illusionistic ceiling with the servants peeking in. Piero della Francesca: central Italian painter known for his interest in scientific perspective and the strange, if beautiful, isolation and abstraction of his figures (The Flagellation of Christ c. 1455-65). Perugino: central Italian painter and teacher of Raphael. His style was graceful and elegant, if somewhat conventionalized (The Delivery of the Keys, Sistine Chapel, 1482). Leon Battista Alberti: Architect and author of books on the Renaissance style of art. His architectue adapted Classical Roman principles to Renaissance needs. His last and most notable building is the church of Sant' Andrea, Mantua (begun 1470), which adapts the Roman triumphal arch on its façade, which features mathematically perfect proportions. The interior of the church adapts ancient Roman bath buildings to create a majestic, classicizing interior.

The Medici: a family of bankers who gained control of the Republic of Florence in the 1430s and ruled it until 1494, when they were expelled by an uprising led by the charismatic preacher Savonarola. In the 16th century, members of the family became Pope Leo X (1503-1519) and Pope Clement VII (1522-33). In 1506 the family recaptured Florence and later ruled it as a duchy into the 18th century. The court of Duke Cosimo I (1540-65) became a center of Mannerism.

Medici Palace: designed by Michelozzo in 1443, the first large Renaissance style town house, featuring rustication on the exterior, but also a Classical cornice based on Roman temples. Its courtyard is the interior focus of the home, and has a Classical colonnade.

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ART 202: HANDOUT 4, HIGH AND LATE RENAISSANCE ART IN ITALY Leonardo da Vinci: Florentine artist and universal genius. Notable for his use of light and shadow to model the human form. Leonardo finished only a few paintings but these were highly influential: The Last Supper (ca. 1495), Mona Lisa (1506). Influenced artists and architects both through his ideas. Donato Bramante: Architect from Urbino best-known for his central-plan churches (round or square in plan). These reinterpreted the architectural style of ancient Rome in Renaissance terms. Works: The Tempietto (at S. Pietro in Montorio, 1502), original plan for St. Peter's, Vatican (medallion of 1506). Michelangelo Buonarroti: Florentine artist (1475-1564) whose favorite medium was marble sculpture. Works: Pietà (1499), David (1504), Moses (1515), Tomb of Giuliano de'Medici (1534). His belief that powerful anatomy may reveal the inner divinity of the soul can also be seen in his paintings in the Sistine Chapel (1508-1512, 1534-1541), where he depicted scenes of Genesis (Creation of Man) and the Last Judgement. He was also an important architect: Laurentian Library (1524-59), St. Peter's in the Vatican (1546-1564). Raphael: painter known for his graceful, balanced, harmonious compositions and beautiful, ideal figures. Works: The School of Athens (1510-1511), Galatea (1513), Castiglione (1514). Died young in 1520. Pope Julius II: Catholic primate (1503-1513) who commissioned much art, including Bramante's plan for St. Peter's, Michelangelo's Tomb for Julius II (which includes the Moses) and frescoes on the ceiling of the Sistine Chapel, and Raphael's frescoes in the Papal Stanze (Apartments; includes The School of Athens). A notable warrior also. Giorgione: Venetian painter who died young in 1510. The Tempest (1508) is perhaps the earliest purely aesthetic paintings, and shows a typical Venetian interest in glowing color. Titian: Venetian painter known for his beautiful color and virtuoso brushwork. Works: Assumption of the Virgin (1518), “Venus” of Urbino, 1538. Palladio: Northern Italian Classicist Architect known for his highly ordered designs adapted from ancient Roman models. Works: Villa Rotonda near Vicenza (ca. 1570), San Giorgio Maggiore in Venice (1565). Tintoretto: Venetian painter of the second half of the 16th century. His work shows strangely elongated figures and odd lighting, which Tintoretto used to heighten the spirituality of his scenes (Nativity, 1580). Not really a Mannerist, since his work was inspired by a deep faith, rather a painter of the Counter-Reformation.

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Veronese: Venetian painter (originally from Verona) whose work shows elegant accomplishment but at times a strange lack of interest in subject matter (Christ in the House of Levi, 1573). The Allegory of Venice (1585) painted for the Doge’s Palace, presents a Classical celebration of the greatness of the (declining) city in sparkling color. Correggio: Proto-Baroque painter from Parma whose work shows a strong drama. Adapted Leonardo's use of light and shadow to achieve this. Works: The Assumption of the Virgin, dome of Parma Cathedral (ca. 1525).

Mannerism: A movement in Italian art which began ca. 1520 and which lasted until the late 16th century. Mannerist art tends to be either strange and fantastic, or coldly aristocratic and unemotional. Pontormo: Florentine painter of the odd "Deposition or Entombment (1528), with odd androgynous figures, pastel colors, and ambiguous space. Parmigianino: Mannerist painter from Parma. His work (The Madonna of the Long Neck, ca. 1535) shows an elegant strangeness, and combines elements of the styles of Raphael and Michelangelo. Bronzino: Florentine Mannerist painter of the aristocratic mode. His work possesses a high surface elegance but has little feeling. His arcane Allegory of Venus, Cupid and Folly (1546) is a monument to courtly art. Sofonisba Anguissola: Northern Italian, the most accomplished female artist of the Renaissance. Her portraits are more intimate than Bronzino's, but still very posed and formal (The Artist's Sisters, 1555). Later worked as a court painter for the King of Spain. Palazzo del Te, Mantua: built by Giulio Romano, once Raphael's assistent, in 1525-32, notable for its "anti-classical" use of the elements of Greco-Roman architecture, notably the "slipping" triglyphs of the court. Its interior includes a trompe l'oeil room painted with the defeat of Giants by the Classical Gods, a symbolic reference to the defeat of his enemies by the emperor Charles V. Giovanni Bologna (aka Giambologna): Sculptor from France who worked in Italy during the second half of the 16th century. His work shows virtuosity but has little emotional force. The Rape of the Sabine Woman (1583) was entitled by a viewer after Bologna had completed it.