Italian Renaissance Art – Chapter 2 01/17/ ?· Italian Renaissance Art – Chapter 2 01/17/2014 Trecento…

Download Italian Renaissance Art – Chapter 2 01/17/ ?· Italian Renaissance Art – Chapter 2 01/17/2014 Trecento…

Post on 07-Sep-2018

212 views

Category:

Documents

0 download

Embed Size (px)

TRANSCRIPT

  • ItalianRenaissanceArtChapter2 01/17/2014

    TrecentoPrecursors

    GiottodiBondone

    WascreditedwithhavingbroughtpaintingoutofthedarknessoftheMiddleAgesintothelightofanewdayRestoredadegreeofnaturalismFocusesmoreonthehumandramaofChristslife

    TheOgnissantiMadonna

    EnthronedMadonnaMadebyGiotto13051310TempuraonpanelGalleriadegliUffizi,FlorenceHighalteroftheOgnissanti(AllSaints)ChurchinFlorenceCubicThroneandfiguresfirmlysetonhorizontalsurfacesRetainsthegoldbackgroundandflathalosofByzantinestyle,andhisthroneiselegantlyGothicThegreaterforeshorteningofthearmsofthethronecomparedtotheversionsbyCimabueandDuccioalsoemphasizesthethreedimensionalityofGiottospictorialspace

  • Foreshortening=representingaforminperspectivesothatitappearstorecedethreedimensionallyonatwodimensionalsurfaceThespacebetweenherkneesisidentifiedasavoidbyfoldsrenderedinachiaroscuroThecurveofMaryswhitedraperyacrosshertorsoindicatesthatsheisnotcompletelyfrontal,butturnsslightlywithasuggestionofcontrappostoContrapposto=atwistatthewaistresultingfromashiftinthestanceofthehumanbodyGiottosChristcontinuestoprojectthemedievalimageofamiraculousinfantChristholdsascrollinhislefthandandblesseswithhisrightThisarrangementalludestothetransitionfromtheOldDispensation(oldtestament),symbolizedbythescrollofprophecy,totheNewDispensation(NewTestament),symbolizedbyChristskingshipAlsoreferstoChristssecondcomingandtheLastJudgmentThesavedwillbeonhisrightandthedamnedonhisleftChristbecomestheformalandiconographicfocusVasesofliliesandrosesLiliesaresymbolsoftheVirginspurityRoseswhichwerebelievedtohavegrownwithoutthronesintheGardenofEdenHerroleintheredemptionofEvessin

    FrescoPainting

    FrescoItalianforfreshThetechniqueusedforpaintingonwallsduringtheRenaissanceAdvancepreparation

  • SpeedofexecutionBuonfrescousedtodescribetheapplicationofpigmentsmixedinwatertodamplimeplasterArriccioamixtureoflimeandsandIntonacofineplasterSinopiepreliminarydrawingsonthearriccioAseccodryplasterSeccopaintingisnotasdurableasbuonfrescoandflakesoffthewall

    TheArenaChapel

    PaduaImportantcenteroftheClassicalrevivalThestudyofancienttextsaswellasthevisualartsGiotto13051310FrescosChristinthecentersurroundedbythefourevangelistFourOldTestamentprophets?EmphasizingGiottosdeparturefromthetypicalgoldbackgroundsofByzantinestyleIntherighttoprowarescenesfromthelivesofAnnaandJoachimand,attheleft,scenesfromtheVirginslifeQuatrefoilsusuallyaframeorarchitecturalfeatureintheshapeofafourleafclover

  • TheremainingnarrativesrepresentthelifeofChristTypologicallypairedwithanOldTestamentevenontheframetotheleftBelowthenarrativesarepersonificationsofthesevenvirtuesandvicesChristianiconographictraditionofplacingwhatisold,ornegative,ontheleftandwhatisnew,orpositiveontherightGodsummonstheangelsandentruststothearchangelGabrielhismissionofinformingMarythatshewillbethemotherofJesusTheAnnunciationGabrieltheneareroffigurativelightLightpouringintoherroomanallusiontoChristastheLightoftheWorldGabrielholdsthescrollofprophecyandMaryholdsabook,anapocryphaldetailindicationthattheangelsarrivalhasinterruptedherreadingCrossedarmsareferencetoherforeknowledgeofhersonsPassionandDeathBetrayalJudasacceptingabadofsilverWarnsofChristsdestinytodieontheCrossTheVisitationPrefiguresthebirthsofChristandJohntheBaptistTrompeloeileffectsimagesthatfooltheviewerintothinkingtheyarerealExpulsionofJoachimfromtheTemple13051310FrescoArenaChapel,PaduaJoachim,whoisagedandchildless,hasbroughtalambtotheTempleonJerusalemasanofferinginthehopesofhavingachildofhisown

  • JoachimsconflictedreactiontwistedposeThedejectionexperiencedbyJoachimatbingroughlyrejectedissymbolizedbythebluevoidattherightItisalsoametaphorfortheemptinesshefeelsinnothavingproducedchildren.HisrejectionisaccentuatedbythepresenceintheTempleofasecondpriestwhoisblessingamuchyoungermanFourtwistedcolumnsSolomonstempleTwoCorinthiancolumns,reflectingtherevivalofclassicalformTheNewDispensationTheirplacementframesJoachimsheadandreferstohisroleasprogenitoroftheNewDispensationbyvirtueofbeingMarysfatherThelambthemiracleofthebirthoftheVirginandthesacrificialnatureofChristsearthlymissionPresentationintheTempleGiotto13051310FrescoArenachapel,PaduaMary,theinfantChrist,andtheoldpriest,SimeonChristTheNewLambChristrejectsthepriestobservationofnormalchildbehaviorJosephcarriesthetraditionalofferingofpigeonsTheKissofJudasThehoodedfigureseeninbackviewforeshadowsChristsdeathbyassociationwiththehoodedexecutionersofmedievalEurope

  • ChristsmoralsuperiorityoverJudasisindicatedbyhishigherpositionLooksdownonJudasClubsraisedoverChristsheadTheaccentuatehisformalcentralityandhisvictimizationbythecrowdAlsoreferstothedeathofChristPrefiguredinthesacrificiallambcarriedbyJoachimTheLastJudgmentGiotto13051310FrescoArenaChapelentrancewall,PaduaTheSecondComingofChristattheendoftimeChristissurroundedbyamandorlafromwhichangelsblowtheLastTrumpMandorla=anovaloflightaroundthebodyofaholypersonThetwelveapostlesThetriplearchedwindowreplicatesthearrangementofaRomantriumphalarchAfreestandingstonearchconstructedinancientRometocommemoratevictoriesDirectlybelowChrist,twoangelssupporttheCrossseparatingthesavedfromthedamnedLittlesoulhidingbehindtheCross,attemptingtosneakawayfromhellandjointhesavedEnricoScrovegniDonor/patron

  • OnthesideofthesavedHandsamodelofthechapeltothreefiguresgenerallyidentifiedasGabriel,theVirginandCharityThedamnedtorturedbyredFireBluedevilsIceNeat,orderlyarrangementofthesavedvs.thepanicstrickendamnedaredisorderedSatanAtthebottomofhellAlargemonsterendlesslyswallowingandexpellingnudesoulsTheemphasisonhangingAformofdeaththatrequiresgravityConsistedwiththetraditionalviewofHellbeingatthedepthsoftheuniverseJudashangedhimselfandholdsthebagofsilverforwhichhebetrayed.AbovearesymbolsofthesunandmoonandtwoangelsrollinguptheskyStagehandsclosethecurtainattheendofaplayHopeGiotto13051310FrescoArenachapel,Padua

  • Theupwardmovementofthevirtuevs.thedownwardpullofthehangedvice(Despair)AccompaniedwithanangelwithacrownDespairGiotto13051310FrescoArenachapel,PaduaCorrespondingtothedispositionofthesavedvs.thedamnedByalittledemonflyingdownwardGrisaille=greyish,monochromaticpaintingfrequentlyusedtosimulatesculptureJusticeGiotto13051310FrescoArenachapel,PaduaGoodgovernmentAqueenenclosedbyaGothicthronethatseemstoopenitsarmsinagestureofwelcomeHoldsaNikeTheGreekgoddessofvictoryHoldsanavengingangelslayinganunidentified,damagedenemyTheeffectsofgoodgovernmentarepeace,dancingandunhinderedtravel

  • InjusticeGiotto13051310FrescoArenachapel,PaduaBadgovernmentAbeardedtyrantwhoneedsprotectionfromhisownsubjectsEnthronedinacrenellatedfortress,protectedbyrowsoftreeThewallsarecrackingunderthestrainoftyrannyTheeffectsofbadgovernmentarewarfare,rapeandplunder

    TheEmergenceOfHumanism

    FrancescoPetrarca13041374PetrarchThedrivingforceoftheemerginghumanistmovementinfourteenthcenturyItalyAradicaldeparturefromthemedievalviewthatthephysicalbodywasimpureandcorruptAriseinliteracyAchangeinthesocialstatusoftheartist

  • 01/17/2014

    SienesePaintingInTheFourteenthCentury

  • 01/17/2014

    SiennaTheNovetheNineMaintainedarelativelysecuregriponpoweruntil1335EncouragedextensiveartisticpatronageTorivalFlorenceintheartsaswellasineconomicsandpoliticsMainsourcesofpatronageThePalazzoPubblicoThecathedral

    DucciosMaesta

    13081311TempuraandgoldleafonpanelMuseodellOperadelDuomoSienaReflectsDucciosattempttoconveythreedimensionalspaceIconwise:MarywasthepatronThroneametaphorforMaryherselfandtheChurch,emphasizingtheaccessibilityofitsqueentothecitizensofSienaJohntheBaptistandJohntheEvangelist

  • 01/17/2014

    FrametheadultlifeofChristJohntheBaptistcarriesthelong,thincrossthatisoneofhisconventionalattributesJohntheEvangelistholdsabook,denotingtheGospelthatrecordsChristsministryNoliMeTangere13081311MuseodellOperadelDuomoSienaTheskyisgold,andChristsdraperyfolds,denotingtheotherworldlinessofhisresurrectedstateGoldaswellMaryisconveyedbymorenaturalisticchiaroscuroSheisstillofthehumanworldIncomparisontoGiottosNoliMeTangere13051310FrescoArenaChapel,PaduaThedramaticencounterbetweenChristandMaryMagdaleneAngelswhoareawareoftheencounterSoldierswhosleepareunseeing,ignoringandsinfulResidesinthehumanrelationshipbetweenChristandMaryMagdalene

    SimoneMartini

  • 01/17/2014

    12851344StillundertheinfluenceofDuccioMaesta1315FrescoPalazzoPubblico,SienaFrenchgothicinfluenceappearsinthesharplypointedarchesofthethroneaswellasinthebrocadeddraperies,erminesandchivalriccourtlinessoftheimageThewritteninscriptionsconsistoftwospokenbytheVirginandfourbythekneelingpatronsaintsofSienaintheforegroundCreateadiplomaticdialoguebetweentheQueenofHeavenandfourambassadorsfromtheearthlycityofSienaMessageofcivicharmonyAnnunciationTempuraandgoldleafonpanel1333GalleriadegliUffizi,FlorenceCommissionedforthealterofSaintAnsanointhecathedralReflectsFrenchGothicinfluenceVaseofliliesdenotingherpurityandpassionBranchZachariashasprophesiedthatamancalledtheBranchwouldbethesaviorofmankindTooled=marksthesurfaceofasculpturewiththeartiststoolsThedoveoftheHolySpiritEmbossed=atechniqueforcreatingmetalreliefAvegratiaplenadominustecumHail(Mary)fullofgrace,thelordiswiththee!ThemedievaltraditionthatMarywasimpregnatedthroughherearbuttheWordofGodChristiscalledtheWordofGodmadefleshThetransitionfromtheideaofChristtotherealityofChristinpaint

  • 01/17/2014

    AmbrogioLorenzetti:AllegoriesofGoodandBadGovernment

  • 01/17/2014

    13051348SienasPalazzoPubblicoSaladellaNove(HalloftheNine)FrescoEffectsofGoodGovernmentintheCityandtheCountryEmbodiesthehumanistviewsTheeconomicprosperitythatencouragespatronageoftheartsOpencountrythefirstexpansivepaintingTheshewolfnursingthetwins,RomulusandRemus,thelegendaryfoundersofRomeSymbolicallyprotectsthecityAlludestothetraditionofSienasdescentfromSenius,thesonofRemusThenoseoftheshewolfnearlytouchesthetoesoftheallegoricalfigureofSecuritas(Security)hoveringoverthetilledfieldsSecuritascarriesaninscriptionth

Recommended

View more >