SCULPTURE LATE GOTHIC PAINTING - WCS - known as “Proto-Renaissance ... Think of Late Gothic Painting as the “Hellenistic Period ... effects such regimes would have in the town and the country

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  • LATE GOTHIC ART & PAINTING

    LATE GOTHIC PAINTING & SCULPTURE

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting Artists to Know

    Cimabue(Florence)

    Duccio(Siena)

    Nicola Pisano

    Lorenzettis

    Giotto

    Simone Martini

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    Late GothicWhat you need to know about

    Black Death wipes out 25% of Europe

    Also known as Proto-Renaissance

    Gothic ARCHITECTURE = FranceLate Gothic PAINTING = Italy

    Think of Late Gothic Painting as the Hellenistic Period of the High Gothic Era Emotional, Detailed, and a more Humanistic Connection

    Late 1200s Early 1300s

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    ByzantineVirgin and Child

    Late GothicVirgin and Child

    RenaissanceVirgin and Child

    How does Late Gothic art create the bridge between Byzantine and Renaissance art?

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    Nicola Pisano (circa 1220-c. 1284). Nicola is thought to have been trained in the Italian

    workshops of the Holy Roman emperor Frederick II, who encouraged a Roman revival. Nicola's carved reliefs for the pulpit of the Pisa

    Baptistery were derived from figures on Roman sarcophagi in the Camposanto of Pisa.

    These carvings are outstanding for their assimilation of the solid, three-dimensional

    Roman style as well as for their corresponding emphasis on the individuality and dignity of the

    human figure. They mark a turning point in Italian sculpture analogous to that represented

    in painting by the work of Giotto.

    Nicola Pisano

    Nicola Pisano, Pisa Baptistry Pulpit, 1260. LATE GOTHIC

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting Nicola Pisano, Siena Baptistry Pulpit, 1260. LATE GOTHIC

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    Giotto Di Bondone, Interior of the Arena Chapel , 1305-1306.

    The Arena Chapel gets it name from the Roman amphitheater that is nearby and was built for a

    local Paduan merchant named Enrico Scrovegni.

    The design of the building so perfectly fits the illusion that its is suggested that Giotto may have

    been the architect as well. The result of such a large canvas on which to paint was a complete

    pictorial cycle of Christian Redemption, created in 38 framed pictures on 3 levels. The top register contains images of Virgin Mary and her parents,

    the middle level contains imagery from the life and mission of Christ, and the bottom level

    depicts Christs Passion, Crucifixion, and Resurrection.

    The pictorial levels are on a neutral base with imitation marble veneer alternates with the

    virtues and vices painted in grisaille (monochrome grays, often used for modeling in

    painting) to resemble sculpture.

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting Exterior of Arena Chapel

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    In one of the scenes, Enrico Scrovegni offers a model of

    the Chapel to the Virgin Mary in one of Giottos frescoes.

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    The ANNUNCIATION Archangel GABRIEL informs Mary that she will bear the baby Jesus. Dove represents the INCARNATION

    The VISITATION Mary visits cousin Elizabeth (whos pregnant w/ St. John the Baptist) Elizabeth 1st to recognize divinity of baby

    The ADORATION Three Magi from the East present gifts to honor Jesus as King of the Jews Gold (kingship), Frankincense (divinity) and Myrrh (Death)

    The RESURRECTION Three days after Christ dies, he walks from his tomb as the guards sleep.

    The ASCENSION 40 days after his resurrection, Christ ascends into heaven as his apostles (and sometimes the Virgin Mary) watch

    The LAMENTATION Mary and other bystanders mourn the body as Jesus Christ lays dead.

    The DEPOSITION Jesuss dead body is being taken down from the cross.

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting The Illusion of Depth & Form

    Giotto Di Bondone, Lamentation, ca. 1305

    Arena ChapelLATE GOTHIC

    Chiaroscurothe use of dramatic

    contrasts of dark and light to produce modeling

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    Giotto Di Bondone, Crucifixion, ca. 1305

    Arena ChapelLATE GOTHIC

    No more Cookie-Cutter poses

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    Giotto Di Bondone, Flight into Egypt, ca. 1305

    Arena ChapelLATE GOTHIC

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    Giotto Di Bondone, Homage of a Simple Man,

    ca. 1295-1300.St. Francis of Assisi, Italy

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting Church of St. Francis of Assisi, Assisi, Italy 1228

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting Church of St. Francis of Assisi, Assisi, Italy 1228

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    Church of St. Francis of Assisi Siena Cathedral

    Romaneque style vs. Gothic

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting Interior of Upper Chapel at Assisi

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & PaintingDuccio, Virgin and Child Enthroned with Saints Maesta alterpiece,

    Siena, Italy, 1308-1311 Tempera on wood panel.

    Part of a large altarpiece called the Maesta, he carved his name into the base of the Virgins throne. It depicts the Virgin enthroned as the Queen of Heaven amid angels and saints. The compositions formality, symmetry, and faces of the figures all come from Byzantine tradition but they are slightly relaxed - the faces on the figures are individualized and there movements are softened. Part of a new naturalism, full of color, composition and texture manipulation. The influence of China and the

    Middle East can be seen in the texture and composition of the fabrics that the figures are wearing.

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting Betrayal of Jesus

    Duccio Di Buoninsegna, detail from the back of the Maesta altarpiecefrom the Siena Cathedral. Siena, Italy. 1309-1311

    This piece is representation of several episodes of Jesus betrayal, including the Kiss of Judas, the disciples fleeing in terror, and Peter cutting off the ear of the high priests servant. The golden sky remains traditional, however, the figures are not

    depicted as they were in Byzantine art. Duccio gives the figures depth, emotion on their faces, and adorns them with clothing that drapes around them convincingly. The figures display a variety of emotions, reacting to what is happening around them.

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & PaintingDuccio Di Buoninsegna, detail from the back

    of the Maesta altarpiece. 1309-1311 LATE GOTHIC

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting Computer Reconstruction of the Maesta (Front)

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting Computer Reconstruction of the Maesta (Back)

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    Duccio, Triptych of Madonna and Child, c1280. LATE GOTHIC

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    In November 2004 the painting was purchased by the Metropolitan Museum of Art in New York City (Met) for an undisclosed sum, reported to be in excess of 45 million USD, the most expensive purchase ever by the museum. It was the first work by Duccio acquired by the Met, which bought the painting from members of the Stoclet family in order to close a gap in its permanent collections of painting.

    Duccio, The Stoclet Madonna, c1300, Tempera on Wood. 8.3 x 11. LATE GOTHIC

    The Stoclet Madonna

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting

    Giotto Di Bondone, Madonna Enthroned, ca. 1310. LATE GOTHIC

    Giottos new form of painting displaced the Byzantine style and established painting as a major art form for the next six

    centuries. He is often credited as the father of Western pictorial art.

    He restored the naturalistic approach invented by the Romans, that was abandoned in the middle ages, and established a method of pictorial expression based on

    observation that might be called early scientific.

    Madonna is depicted in representational art with sculptural solidity and weight. Madonna, enthroned with angles, rests within her Gothic throne with the unshakable stability of an

    ancient marble goddess. His technique for such an aesthetic is called chiaroscuro.

    This art was aimed to construct a figure that had substance, dimensionality, and bulk. Works painted in this new style

    portray figures, like those in sculpture, that project into the light and give the illusion that they could cast shadows.

    In this painting the throne is deep enough to contain the

    monumental figure and breaks away from the flat ground to project and enclose her.

  • LATE GOTHIC ART & PAINTING

    Late Gothic Art & Painting Ambrogio Lorenzetti, Sala dei Nove, 1338-1339, Siena Italy.

  • LATE GOTHIC ART & PA