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Sumerian: c. 3000 BC

Akkadian: c. 2000 BC

Babylonian: c. 1700 BC

Assyrian: c. 700 BC

Late Babylonian: c. 600 BC

Persian: c. 500 BC

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Attention to detail

Symbolism

Naturalism

Oil paint:  intense detail, subtle effects of light and dark,   modeling, greater details, glowing colors

Art can be owned by middle class (especially   prints)

Mostly religious, also portraiture

Details of modern life (cityscapes, interiors, etc.)

Fantastical creatures/demons (Bosch,   Schongauer)

Art owned by middle class

Mostly religious

Details of modern life (cityscapes, interiors, etc.)

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Hieronymus Bosch, The Last Judgment, c. 1482

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Hieronymus Bosch, The Last Judgment, c. 1482

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Martin Schongauer,St. Anthony Tormented by Demons, ca. 1480-1490

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Martin Schongauer,St. Anthony Tormented by Demons, ca. 1480-1490

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Intaglio=incised

Engraving on metal plate (opposite woodcut technique)

Intaglio=incised

St. Anthony tempted by demons, whom he resisted

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Jacques Daret. Woodcut of St. Christopher, Annunciation (detail). ca. 1435

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Jacques Daret. Woodcut of St. Christopher, Annunciation (detail). ca. 1435

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Jacques Daret: Flemish Significance: block prints /block books could be owned by anyone (as opposed to illuminated manuscripts); print pinned onto wall in middle-class home: art for the people

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Buxheim St. Christopher: Germany
Medium? Woodcut;

Technique (relief); flat, little shading

Influence of printing press; made into popular picture books called block books

Christopher—patron saints of travelers: a giant who ferried people across rivers; surprised how heavy a child was (it was Christ carrying the weight of the world)

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Rogier Van der Weyden, Descent from the Cross, details: 

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Rogier Van der Weyden, Descent from the Cross, details: 

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Look at tears, pin, creases in headress

Michelangelo is reported to have said “Flemish painting will please the devout better than any painting of Italy, which will never cause him to shed a tear, whereas that of Flanders will cause him to shed many.”

Attention to detail continues to be a quality of northern European art through several centuries

Possible because of oil paint

Michelangelo is reported to have said:

“Flemish painting will please the devout better than any painting of Italy, which will never cause him to shed a tear, whereas that of Flanders will cause him to shed many.”

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Rogier van der Weyden. Descent from the Cross . ca. 1435 

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Rogier van der Weyden. Descent from the Cross . ca. 1435 

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1. The details in the fabrics and textures in this painting  by Rogier van der Weyden were made possible because of the use of

1. oil paint

Rogier van der Weyden, Descent from the Cross: (Smarthistory 7:09) (also Flemish; Brussels)

Similarities to Van Eyck?

Heavy drapery, details of textures, fabrics, symbolism, modeling (oil paint)

Differences?

Shallow space: enhances dramatic, emotional quality (similar to large sculptured shrines)

Depiction of the agony of loss

Composition: pose of Mary echoes pose of Christ (even arms); visual balance as well as link—shared relationship; Mary also suffers, has fainted, but will be revived; foreshadows resurrection

3 figures on right, 4 on left; how balanced? Elaborate dress on right (gives us more to look at)

Also figures curve inward to direct our eyes

Skull: tradition that Christ was crucified on spot where Adam was buried: Adam=fall; Christ=redemption (also the Latin word for skull is calvaria = Calvary)

Different goal:  emotional expression: gestures, faces (all crowded in together)

Naturalism (brings immediacy to viewer; can relate)

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“Almost every object portrayed conveys the sanctity of the event, specifically, the holiness of matrimony”

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Finial on bedpost=St. Margaret,  patron saint of childbirth

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Finial on bedpost=St. Margaret,  patron saint of childbirth

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Clogs removed=holy ground

Hand raised=vow

Oranges=fruitfulness, prosperity

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Single candle=Christ

Dog=fidelity

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Witnesses to the event; signature

Aber beads=chastity

Passion of Christ; God’s promise of salvation

Mirror=all-seeing eye of God

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Jan van Eyck. The “Arnolfini Portrait.” 1434 

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Jan van Eyck. The “Arnolfini Portrait.” 1434 

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1. Many scholars believe that the gestures and symbolic content in this painting point to the subject of

1. a marriage

2. Jan van Eyck was able to paint tiny details and naturalistic textures with the use of

1. oil paint

Jan van Eyck, Arnofini Portrait: National Gallery, London next to portrait; considered a masterpiece of the period (Flemish)

Portrait=Waldemar Januszczak (start at 14:19)

Signature: Jan van Eyck was here, 1434

Subject? “Almost every object portrayed conveys the sanctity of the event, specifically, the holiness of matrimony” (Gardner’s Art Through the Ages)

Giovanni Arnolfini, Italian merchant in Bruges

Textures, light ; space believable?

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Jan van Eyck. Man in a Red Turban (Self-Portrait?). 1433 

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Jan van Eyck. Man in a Red Turban (Self-Portrait?). 1433 

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Jan van Eyck, Man in a Red Turban:

Revival of portraiture seen in donor portraits and here; not big since antiquity; looks straight at viewer (first portrait in 1000 years to do so)

¾ view; eyes return your gaze

Secular; middle-class; precision in details of skin, texture, stubble of beard

Als Ich Kan (as I can/ as best I can)—his personal motto

Self-portrait? Why would they think that? Scrutiny, squint of eye; no other name on frame (Jan van Eyck me fecit—made me)

Sample/showpiece to show skill to buyers?

Red turban—reference to ancient world (as well as lettering—Greek and Latin)

In National Gallery in London

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Recovery of panels from Ghent altarpiece in Austrian salt mine

SS troops planning to blow up if they couldn’t win war

Saved in the nick of time by Austrian miners, Austrian double agents, and American monuments men

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Hubert and Jan van Eyck. Ghent Altarpiece (open), Church of St. Bavo, Ghent, Belgium. Completed 1432

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Hubert and Jan van Eyck. Ghent Altarpiece (open), Church of St. Bavo, Ghent, Belgium. Completed 1432

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1. The best description of the theme of the Ghent Altarpiece is

1. The plan of salvation

2. This inside of the Ghent Altarpiece contains each of the following depictions EXCEPT:

1. Joseph

2. does depict:

1. Adam and Eve

2. God the Father

3. Christ depicted as the Lamb of God

Ghent Altarpiece (open): considered world’s “most coveted painting” WHY? First great oil painting

History: 1566 dismantled and detached from elaborately carved frame in order to protect from Protestant iconoclasts (when reinstalled in 1587, frame missing)

Napoleon’s troops looted after French Revolution and brought to the Louvre

WWI some panels taken by German forces

WWII Hitler seized and stored in Neuschwanstein castle and then in salt mines

recovered by Americans (Monuments Men)

Why so coveted? Embodiment of Christian faith, especially of Catholic Church

Main theme? Redemption of mankind through Christ’s atonement

Plan of salvation? Mercy of God, redemption, adoration of the lamb

Lamb of God (center) on altar: Christ’s sacrifice; bleeds into golden chalice (wine is blood of Christ)=Holy Communion/Eucharist

Fountain: eternal life because of Christ (like well of Moses)

Meticulous attention to detail

Top: God the Father on throne surrounded by Mary and John the Baptist (all part of my plan): different God than medieval view (wrathful; now God of forgiveness)

Adam and Eve: Fall, vulnerability; need for a Savior; naked (not idealized as in Italian Renaissance)

Creation? Details of plants—identifiable by species; clarity and details of natural world: the world around us is a reflection of God and his creations (not viewed this way in middle ages)

“an eye like a microscope and a telescope at the same time” –God’s vision, all-seeing

Delicate play of light and shade, extreme details, vibrant colors all possible because of (oil paint)

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Hubert and Jan van Eyck. Ghent Altarpiece (closed), Church of St. Bavo, Ghent, Belgium. Completed 1432

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Hubert and Jan van Eyck. Ghent Altarpiece (closed), Church of St. Bavo, Ghent, Belgium. Completed 1432

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1. The word "grisaille" refers to which part of this closed photograph of the Ghent Altarpiece?

1. The painted sculptures indicated by the use of black, gray, and white

Grisaille=using only values of black, gray, and white

Polyptych=many panels

Hubert and Jan van Eyck, Ghent Altarpiece: Polyptych—many panels; Very large (11’x15’ when opened)

Credited with “invention” of oil paint by Italians; signed paintings (unusual at the time)

20 images inside and out; many hinges; (open only on Sundays and special feast days); both brothers worked on; Hubert died 1426, Jan completed (Hubert was the more famous at the time)

A now lost inscription on the frame stated that Hubert van Eyck maior quo nemo repertus (greater than anyone) started the altarpiece, but that Jan van Eyck – calling himself arte secundus (second best in the art) – completed it in 1432

What is Gothic?

Style of architecture/ niches/ sculptures in niches/ New Testament figures (2 St. Johns), altarpiece

New: (northern Renaissance): rich detail/ velvety shadows (oil); continuous depth in room, cast shadows, realistic portraiture (skin on hands looks old), weighty folds/figures

Center: Annunciation

top: OT prophets and sybils: foretelling Christ’s birth, mission

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Robert Campin. Angel Gabriel painted in oil

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Robert Campin. Angel Gabriel painted in oil

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Robert Campin, det.: Oil: dries slowly, translucent, can blend, shade; greater variations of hue; can rework; can make layers of glazes for subtle transitions, richer colors

Able to show reflective surfaces, more texture, greater detail

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Simone Martini. Angel Gabriel painted in tempera

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Simone Martini. Angel Gabriel painted in tempera

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Simone Martini: Egg tempera: dries quickly, hard to blend, individual brush strokes visible; thin layers or cracking/flaking

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Look at subtle gradations of hues in her wimple

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Lot of specific detail; greater illusion of reality

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Workshop of Robert Campin. Merode (Annunciation) Triptych. ca. 1425–30 

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Workshop of Robert Campin. Merode (Annunciation) Triptych. ca. 1425–30 

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triptych=a religious picture with one central panel and two hinged wings

(Metropolitan Museum of Art Cloisters) Early Northern Renaissance:  Subject in center? Compare and contrast with Melchior Broederlam’s altarpiece (next slide)

Difference in setting?

House interior;

effect?

brings supernatural event to everyday life (not painted for a church but for fellow citizen--25”x25” ); brings sacred  to terms we can understand; bond between patron and Biblical figures

What do you think of the perspective?

(overly foreshortened, different points of view)

Attention to detail; equality of attention to every detail; every object can have symbolic significance (reason for intense study of everyday objects): candle/Christ, lilies/purity; vessel/Mary as pure vesse (holds pure water for cooking; Mary holds the pure “Living Water”l; mousetrap;cross (St. Augustine); disguised symbolism

Names of Donors: Peter Ingelbrecht (angel bringer) and Scrynmaker (shrine or cabinet maker)

Shows city scenes of Liege

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Unicorn in Captivity, c. 1500 Unicorn Tapestries

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Unicorn in Captivity, c. 1500 Unicorn Tapestries

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Flanders

(parts of France, England, Belgium, & Netherlands)

From England=English

From France=French

From Flanders=Flemish

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International Gothic Style  (bridge between Gothic and Renaissance)

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International Gothic Style  (bridge between Gothic and Renaissance)

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some Gothic characteristics

new naturalism

rich colors, materials

symbolism

many small details

aristocratic patrons, tastes

elegant figures, expensive dress

patterns, repetition

International Style
(bridge between Gothic and Renaissance)

some Gothic characteristics

new naturalism

rich colors, materials

symbolic details

aristocratic patrons, tastes

many small details

elegant figures, expensive dress

patterns, repetition

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1. This diptych was made for Richard II, King of England, who is pictured in the left interior panel and shown kneeling before the Virgin Mary on the right panel.

2. Who are the three men who stand behind Richard?

3. On the right, an angel holds the banner of

4. Which of the following is NOT one of the messages of the Wilton Diptych?

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1. The International Style is known for each of the following characteristics EXCEPT

1. deep space

1. it shows

1. rich materials

2. elegant figures

3. use of pattern

2. Which if the following is NOT a message of the Wilton Dyptych?

1. Richard's authority to rule is in danger and he is in need of divine protection.

3. A dyptych is

1.  A hinged panel painting with two parts

National Gallery, London

King Richard II (England) and patron saints kneeling before the Virgin Mary, Jesus, and Angels (wearing badges with emblems of King Richard)

Gothic? gold background, haloes, flat space, floating feet

International Gothic: sumptuous materials, elegance, patterns, repetition (wings, color, robes, faces), details in flowers

Contrast in colors=heavenliness?

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Multiple choice:

1. This manuscript painting represents one of the

1. months of the year

2. This painting by the Limbourg brothers is part of :

1. A prayer book

3. It is an example of:

1. international gothic style

4. The style is marked by:

1. Rich materials, elegant figures, naturalistic details, love of pattern

5. This diptych was made for Richard II, King of England, who is pictured in the left interior panel and shown kneeling before the Virgin Mary on the right panel

1. true

6. Who are the three men who stand behind Richard?

1. St. Edward the Confessor, St. Edmund, St. John the Baptist

7. On the right, an angel holds the banner of

1. St. George

8. Which of the following is NOT one of the messages of the Wilton Diptych?

1. Richard's authority to rule is in danger and he is in need

of divine protection.

international gothic

because its rich material

gold

love of patterns

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August=Sister Wendy’s Story of Painting (21:23- 25):

Nobles hunting (falcons); peasants cutting/loading hay and swimming; contrast of special rules of behavior and freedom

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Limbourg Brothers. July page, Les Très Riches Heures du Duc de Berry 1413–16

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Limbourg Brothers. July page, Les Très Riches Heures du Duc de Berry 1413–16

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July: Passage of time: calender (above), labor of the month (harvesting wheat, shearing sheep); idealization of feudalism (elegant figures, peaceful, castle); composition (triangles again)

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May: Duke riding (from behind) and his two tiny dogs; greenery on heads (color of May)

(multiple choice questions)

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“The two boats on the lake are fishing together; they have a net hung between them to catch fish for the duke’s table. They can only do this if they help each other and pull their weight, which again reminds us of marriage. Both have to try if it is to work.”

--Sister Wendy Beckett

April: Fairy-tale like; marriage

Sister Wendy Beckett: “The two boats on the lake are fishing together; they have a net hung between them to catch fish for the duke’s table. They can only do this if they help each other and pull their weight, which again reminds us of marriage. Both have to try if it is to work.”

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How is social class portrayed in these two images? What are the implications behind the portrayals? 

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How is social class portrayed in these two images? What are the implications behind the portrayals? 

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Thought question: How is social class portrayed in these two images? What are the implications behind the portrayals?

Peasants are dignified, elegant, hardworking, needs are met, even birds have enough food, still beautiful and beautiful clothing/blue

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February: Farm; elegance of workers

Composition directs eye up the path

Balance; two figures in blu

Even the birds have enough to eat

We see the details of the smoke coming out of the chimney and the puff of air from the woman running across the snow

Entrance to the house is cut out so we can see inside; people warm themselves by the fire; woman averts her gaze

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Limbourg Brothers. January page, Les Très Riches Heures du Duc de Berry. 1413–16

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Limbourg Brothers. January page, Les Très Riches Heures du Duc de Berry. 1413–16

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Limbourg Brothers, January:

Manuscript painting--Book of Hours: collection of prayers for certain times of day; also calendar pages listing religious feast days; first available to aristocracy and later to other affluent people

3 brothers (Pol, Herman, and Jean de Limbourg); died in 1416 (probably of the plague; same year as Duke) and left unfinished; uncle was Jean Malouel, painter of Claus Sluter’s Moses Well and court painter to the Duke of Burgundy

For Duke of Berry, brother of Duke of Burgundy and King Charles V of France

International Style: elegant, sumptuous materials (gold, blue), expensive dress; details of patterns, textures; dogs on table, salt cellar

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Duccio, Annunciation of the Death of the Virgin, c. 1310 and Broederlam, Infancy of Christ

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Duccio, Annunciation of the Death of the Virgin, c. 1310 and Broederlam, Infancy of Christ

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Duccio, Annunciation and Broederlam, Infancy of Christ:

Similarities?

Gothic architecture, awkward scale and space, gold background, flat haloes

Differences?

Strong modeling, landscape; realistic depiction of small details; foliage (typical of International Gothic)

Symbols:

lily; diff. architecture (Romanesque/Gothic) stand for OT, NT

Like an illuminated manuscript but over 5 ft. tall (expensive, sumptuous, custom-made)

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Melchior Broederlam. Infancy of Christ panel, wing of the altarpiece of the Chartreuse de Champmol. 1394–99

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Melchior Broederlam. Infancy of Christ panel, wing of the altarpiece of the Chartreuse de Champmol. 1394–99

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Melchior Broederlam: Presentation in the temple (to Anna and Simeon), flight into Egypt

(Luke 2:25-38)

Melchior Broederlam: Presentation in the temple (to Anna and Simeon), flight into Egypt

(Luke 2:25-38)

Background: statue of a pagan god falls off a column as the Holy Family approaches; new order under Christ

: statue of a pagan god falls off a column as the Holy Family approaches; new order under Christ

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Melchior Broederlam. Infancy of Christ panel, wing of the altarpiece of the Chartreuse de Champmol. 1394–99

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Melchior Broederlam. Infancy of Christ panel, wing of the altarpiece of the Chartreuse de Champmol. 1394–99

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Melchior Broederlam: Infancy of Christ: Story: Annunciation, Visitation

Also commissioned by the duke Philip of Burgundy

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Interior: sculpted scenes of Christ’s sacrifice

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Interior: sculpted scenes of Christ’s sacrifice

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Melchior Broederlam. Infancy of Christ altarpiece, 1394–99

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Melchior Broederlam. Infancy of Christ altarpiece, 1394–99

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Also commissioned by Philip the Bold, duke of Burgundy, for chapel at the monastery

Altarpieces: backdrops to the Mass; had important teaching function

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Carthusian monks called it a fountain of everlasting life;

symbolism—The blood of the crucified Christ flowed down over the grieving angels and prophets, spilling into the well below, redeeming anyone who would drink water from the well

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Claus Sluter. The Well of Moses, Chartreuse de Champmol, France. 1395–1406 

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Claus Sluter. The Well of Moses, Chartreuse de Champmol, France. 1395–1406 

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Claus Sluter, The Well of Moses: International Gothic; for Carthusian monastery: aristocratic; attempt to maintain status and privileges: bridge between Gothic and newer naturalism of 15th century (continued refined forms of Gothic art but seeds of naturalism

6 prophets: Moses, David, Jeremiah, Zachariah, Daniel, and Isaiah; each prophesied of the death of Christ (scrolls represent); crucifix scene above showed fulfillment of OT prophecy (destroyed during French revolution—anti aristocracy);

Gothic: sculpture in niche (like cathedrals), Biblical theme, symbolism;  New naturalism: expressive, individualized faces; specific details-- bronze spectacles (Jeremiah); interactive; gestures, emotional urgency

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Bridge between Gothic style and early Renaissance

(an aristocratic attempt to hold onto power)

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As a Franciscan symbol, the TAU, resembling the Cross, is a sign of conversion. Because of his affection and devotion to the cross of Christ, St. Francis used this sign as his personal signature. For Francis, conversion implies a turning toward God and turning to one’s brothers and sisters.

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Flamboyant style,

phase of late Gothic architecture in 15th-century France and Spain. It evolved out of the Rayonnant style's increasing emphasis on decoration. Its most conspicuous feature is the dominance in stone window tracery of a flamelike S-shaped curve.

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What’s going on in Europe in the 1400’s?

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What’s going on in Europe in the 1400’s?

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Printing press (c. 1450)

Manufacturing and trade

Scientific discoveries and exploration

Education and Humanism

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Chapter 14: Artistic Innovations in 15th-Century Northern Europe

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Chapter 14: Artistic Innovations in 15th-Century Northern Europe

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Theme: Bridge between Gothic and Renaissance

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Giovannino dei Grass. Hours of Giangaleazzo Visconti. ca. 1395 

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Giovannino dei Grass. Hours of Giangaleazzo Visconti. ca. 1395 

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Sums up period: a bit of Byzantine, Gothic, a bit of moving toward interest in space: modeling, architecture

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The Bubonic Plague spreads across Europe, 1347-1351

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The Bubonic Plague spreads across Europe, 1347-1351

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Siena and Florence we experiencing great economic success, intensified religion or made others merry with stories like Boccaccio’s Decameron, Lorenzetti brothers perish during the Back Death, many painters died, chapels, tombs, and funeral masses rose from concern about mortality,

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Doge=city leader; city council here

Venice=political stability (unlike florence and Siena)

Borrowed from Gothic, Byzantine, and Islamic

Open (not fortress-like); ornamental

Venice enjoyed political stability, merchant oligarchy, the city’s leader was known as the Doge and was elected by the oligarchs, no defensive structures in architecture here, airy and open, borrowed from Gothic, Byzantine and Islamic styles, meeting place for the Great Council, lavish moldings and quatrefoils make it ornate, stone work

•The architecture of Venice was directly influenced by Venetian trade with the Far East and Middle East. This resulted in the open arcades and decorative surfaces seen in buildings such as the Doge’s Palace.

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Ambrogio Lorenzetti. Good Government in the Country

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Ambrogio Lorenzetti. Good Government in the Country

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1. 6. Which of the following is NOT true of this work by Ambrogio Lorenzetti?

1. It has a religious message.

1. it is however

1.  It has an allegorical message

2. It was created for the Palazzo Pubblico, or town hall, of Siena.

3. It is one of the first true landscapes since medieval times.

First true landscape since medieval times; orderly hillside, fruitful nature, peasants work in harmony, safety all because of justice and good governing

First 3 decades of 14th century were stable; in 1340’s catastrophes: warfare, bankruptcy, crop failures, famine, and then bubonic plague in 1348

Wiped out more than half of populations of Florence and Siena

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Ambrogio Lorenzetti. Allegory of Good Government (left), Good Government in the City (right), and portion of Good Government in the Country (far right), Sala della Pace, Palazzo Pubblico, Siena. 1338–40 

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Ambrogio Lorenzetti. Allegory of Good Government (left), Good Government in the City (right), and portion of Good Government in the Country (far right), Sala della Pace, Palazzo Pubblico, Siena. 1338–40 

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1. Unlike many works of medieval art, the Allegory and Effects of Good and Bad Government is a

1. secular work of art

2. The Allegory and Effects of Bad Government shows the figure of Tyranny surrounded by vices. Poor government leads to

1. fear and destruction in the city and country.

3. Allegories in art are figures that stand in for

1. ideas

Brother of Pietro Lorenzetti

Walls of palazzo of Siena, where laws were made; shows happy people, peace (propaganda)

How to govern, how to be a good citizen—civic-minded

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Duccio. Christ Entering Jerusalem, from the back of the Maestà Altar. 1308–11

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Duccio. Christ Entering Jerusalem, from the back of the Maestà Altar. 1308–11

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Duccio used architecture to create space and help narrative outdoors here

Diagonal movement of architecture creates depth

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Duccio, Madonna Enthroned, center of the Maestà Altar. 1308–11

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Duccio, Madonna Enthroned, center of the Maestà Altar. 1308–11

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Duccio. Annunciation of the Death of the Virgin, from the Maestà Altar. Museo dell’Opera del Duomo, Siena

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Duccio. Annunciation of the Death of the Virgin, from the Maestà Altar. Museo dell’Opera del Duomo, Siena

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Annunciation of Death of Virgin (angel Gabriel returns to again Mary to warn her of her impending death): attempt at space, foreshortening (beams); figures framed by architectural space

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Duccio. Madonna Enthroned, center of the Maestà Altar. 1308–11

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Duccio. Madonna Enthroned, center of the Maestà Altar. 1308–11

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Duccio from Siena (neighboring city, competition; victory against Florence in 1260; took virgin Mary as protector/patron

To celebrate, commissioned Duccio to make a huge altarpiece

“Greek Manner” (Byzantine)—tempera on panel; richer colors than fresco

Combines with some space (knee, throne)

Compare with Cimabue (next): Duccio relaxes rigid, angular draperies; softer, more 3-D; modeling of light

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Florence and Siena Independent city-states; competed with each other

Started at same time, but Siena taller tower

Strong, fortress like

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Giotto. Christ Entering Jerusalem, Arena (Scrovegni) Chapel, Padua. 1305–06

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Giotto. Christ Entering Jerusalem, Arena (Scrovegni) Chapel, Padua. 1305–06

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Triumphal entry: fulfills OT prophecy (mounted on donkey);

What makes it look like events are close to viewer?

(low on picture plane)

What makes it look like events are in 3-D? modeling

Isolation and dignity of Christ

Christ in profile (Roman: noble pose); moves forward throughout cycle left to right; shows lapse of time; also figures taking off clothing; like story boards (symbolic representation in group—abbreviated)

Buon fresco: paint on wet plaster, bonds; but not blue; lapiz lazuli expensive; Enrico wanted to show its brilliance so put on secco fresco (dry fresco); didn’t last

Modeling of figures new! Shows bulk

Earthly setting; not gold, shows ground

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1. In the medieval Catholic belief system, people who committed sins could atone for them with good works, such as paying to have a chapel decorated with a religious narrative

1. true

2. The narrative scenes in the Arena Chapel begin with

1. Life of Mary move on to Life of Christ, and end with scenes of the Christ’s Passion

3. Giotto was probably the student of

1. Cimabue and learned chiaroscuro, or the use of light and shadow, from him

4. In the Lamentation, the anguish on Mary’s face shows

1. her humanity

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Interior of Arena (Scrovegni) Chapel, Padua. 1305–06

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Interior of Arena (Scrovegni) Chapel, Padua. 1305–06

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1. The interior of the Arena Chapel in Padua was painted by

1. Giotto

Palace chapel—connected to Scrovegni Palace (located on site of former Roman arena)

One-room hall covered with barrel vault; built to be Scrovegni’s burial chapel

Scrovegni: banker; worry about connection to usury (charging interest); built chapel as a good work to atone for usury (Enrico Scrovegni in Last Judgment scene handing church to 3 Mary’s—on right side)

Floor to ceiling fresco with three registers (even illusionistic marble panels): Cycle of Mary’s life (top), Christ’s life (middle), Christ’s passion (death and resurrection (bottom)

Altar wall: Anunciation

Back wall: Last judgment (as you leave); take these things seriously; you will suffer according to your sins

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Compare:

Loved gold and pattern of Byzantine, but leans to classical tradition of figure

Body shows beneath clothing, more physical solidity (except flat haloes), modeled in light; gradation of lights and darks; space more defined, solid

Angels kneeling suggest space further; also overlapping saints

Illusionistic textures shows familiarity with ancient roman painting

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Which trend does Giotto follow?

Giotto student of Cimabue:

Similar?

Body shows beneath clothing, more physical solidity (except flat haloes)

Loved gold and pattern of Byzantine, but leans to classical tradition of figure

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Cimabue. Madonna Enthroned. ca. 1280–90 

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Cimabue. Madonna Enthroned. ca. 1280–90 

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12 feet tall

Cimabue=bull’s head; stubborn; from Florence

Byzantine: gold, long nose, frontal, solemn expression

Loved Byzantine color, but 3-D throne—shows space

Which trend?

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Palazzo della Signoria (Palazzo Vecchio), Florence. Begun 1298

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Palazzo della Signoria (Palazzo Vecchio), Florence. Begun 1298

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2 rival cities: Florence and Siena; both independent city-states; both republics

Strong, fortress like (like castles in region: thick stone walls, battlements, tall tower, rusticated stones give appearance of greater strength

Large tower—to see and be seen; symbol of civic pride;

palace of wealthy merchant ruling family (Medicis) AND city hall; republic; expressed power of communal good over powerful aristocracy

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Andrea Pisano. The Baptism of Christ, from the south doors, baptistery of San Giovanni, Florence. 1330–36

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Andrea Pisano. The Baptism of Christ, from the south doors, baptistery of San Giovanni, Florence. 1330–36

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Baptism of Christ; classical proportions and drapery!

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Ambrogio Lorenzetti. Good Government in the City

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Ambrogio Lorenzetti. Good Government in the City

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1. This work was painted for a

1. palace

Portrait of Siena; everyone busy, productive, harmonious (dancing in front)

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1. Simone Martini combined each of the following in his Annunciation painting EXCEPT

1. oil paint

2. it does use

1.  elegant line

2. love of pattern

3. he appearance of real bodies beneath the clothing

2. This work by Simone Martini combines each of the following EXCEPT

1. A lack of symbolic content

3. This work depicts

1. The Deposition

4. Simone Martini was a student of

1. Duccio and was well-versed in the Sienese styles, with particular attention to detail, patterns, and decorative elements

5. The lilies in the vase were symbolic of Mary's

1. Virginity

6. Gabriel holds this symbol of Christ and peace

1. An olive branch

7. The Holy Ghost appears in the form of a

1. Dove

8. Simone Martini is trying to represent both the divinity and humanity of the event, while previous artists focused mostly on

1. Divinity

Student of Duccio in Siena; medieval frame not original; meant to be placed near Duccio’s Maesta

Gentle gestures; had seen French Gothic mss painting

Lilies—emblem of purity of virgin

Words: “Hail Mary, full of grace, the Lord is with you”

(the word became flesh; words going into Mary’s ear become son of God

Like Giotto: reduces story to simplest terms

Like Duccio: lyrical elegance; spiritual realm emphasized over physical realm

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Giotto. The Lamentation, Arena (Scrovegni) Chapel, Padua. 1305–06 

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Giotto. The Lamentation, Arena (Scrovegni) Chapel, Padua. 1305–06 

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1. This panel of the Arena Chapel frescoes shows how the artist imbued his figures with each of the following EXCEPT

1. apathy

2. What is new in Giotto's depiction of the Lamentation in the Arena Chapel?

1. Figures that look like they have weight and mass

Figure 13.20 how is all attention directed to Christ?

Meium- fresco

Master of composition; draws our eye to Christ--(not in center: rocky hill leads, figures surround; figures with backs to us looking in; occupy space, foreshortened (no other function; would not have been in medieval period)

Emphasis on Christ as human; in lap, on knee, dead

Solid bodies; modeling, bulk, believable ground, illusion of space; continuation of hill on next panel

Tree-looks dead (all of nature mourns), symbol of resurrection (also Jonah panel on left)

Angels mourn, foreshortened; individualism in reactions (as below)

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Baptistery of San Giovanni, Florence, Italy. ca. 1060–1150 (Romanesque)

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Baptistery of San Giovanni, Florence, Italy. ca. 1060–1150 (Romanesque)

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Chancel wall

1. The narrative scenes in the Arena Chapel focus on each of the following EXCEPT

1. The creation of the world

God the Father in a frame at top, overseeing events below: part of his plan

Annunciation scene

Betrayal of Judas and Visitation

Interior of chapel with believable space

Next to each scene are OT scenes or prophets that prefigure the NT events

Faux marble like Roman stone work

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Andrea Pisano. South doors, baptistery of San Giovanni, Florence. 1330–36

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Andrea Pisano. South doors, baptistery of San Giovanni, Florence. 1330–36

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1. The bronze doors created by Andrea Pisano for the Florence baptistery focus on the life of

1. John the Baptist

New pair of bronze doors for baptistery at Florence

3rd Pisano—not related (also from Pisa)

Life of John the Baptist (patron saint of Florence)

Part medieval (Gothic quatrefoil frames) part classical

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Plan of Florence cathedral and campanile

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Plan of Florence cathedral and campanile

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Vaguely Gothic—pointed arches, aisles

Statement of wealth and importance of Florence

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Arnolfo di Cambio, Florence Cathedral, begun 1296

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Arnolfo di Cambio, Florence Cathedral, begun 1296

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Florence Cathedral; bell tower designed by Giotto

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Straightforward basilica plan; proportions broad instead of vertical

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Arnolfo di Cambio (?). Santa Croce, Florence. Begun ca. 1295 ( Franciscan Order)

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Arnolfo di Cambio (?). Santa Croce, Florence. Begun ca. 1295 ( Franciscan Order)

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Franciscan Order

Leading and largest Franciscan church (on the east side of town); Basilica plan; burial place of Michelangelo and Galileo (and other famous Italians)

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Giovanni Pisano. Nativity, detail of pulpit. 1302–10. Marble. Pisa cathedral

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Giovanni Pisano. Nativity, detail of pulpit. 1302–10. Marble. Pisa cathedral

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Giovanni Pisano son of Nicola

Also part of a pulpit; Same story (nativity, angels and shepherds, symbolic bathing of Christ);

Differences?

Focuses on landscape, animals;

higher relief (more deeply carved), thus more darks and lights, rounder; less crowded; also more action

Mary: young mother rather than dignified matron

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Nicola Pisano. Nativity, detail of pulpit

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Nicola Pisano. Nativity, detail of pulpit

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Figure 13.8 from same pulpit (top part); scenes from life of Christ

Nativity; midwives bathing Christ below (symbolic of baptism);

Joseph gazes with wonder

Left top corner: Annunciation

Crowded, looks like Roman sarcophagus

Mary looks like a Roman matron; dignified

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Nicola Pisano. Fortitude, detail of pulpit

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Nicola Pisano. Fortitude, detail of pulpit

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Daniel with lions? Or Herakles (lion skin, cub on shoulder)?

Symbolizes virture of fortitude; First fully nude carving since Rome?

Fortitude- courage in pain or adversity.

Classical, humanist ideas coming back! Nicola Pisano studied classical sculpture

Humanism=emphasis on human potential

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1. is it inspired by Byzantine Art?

1. 4th crusade- disaster

2. is it inspired by French Gothic Art?

3. is it inspired by Classical Greek and Roman Art?

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Italians loved big painted altarpieces; egg-based tempera

St. Clare female counterpart of St. Francis of Assisi; made for Franciscan convent

Byzantine influence! Frontal, elongated, gold, large halo, large eyes, long Byzantine nose

Vignettes at side: stories of her service

2 trends in Italian painting: : ties to roman past (classical) and ties to Byzantine empire: 4th crusade: invaded Constantinople instead of Jerusalem; brought back Byzantine art to Italy

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Bonaventura Berlinghieri,  St. Francis of Assisi, 1235 and Altarpiece of St. Clare, ca. 1280 

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Bonaventura Berlinghieri,  St. Francis of Assisi, 1235 and Altarpiece of St. Clare, ca. 1280 

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Italians loved big painted altarpieces; egg-based tempera

Tempera- The technique of painting with pigments bound in a water-soluble emulsion, such as water and egg yolk, or an oil-in-water emulsion such as oil and a whole egg.

St. Clare female counterpart of St. Francis of Assisi; made for Franciscan convent (called Poor Clares; founded by the noblewoman Clare, who was later canonized)

Byzantine influence! Frontal, elongated, gold, large halo, large eyes, long Byzantine nose

Vignettes at side (apron scenes): stories of her service

2 trends in Italian painting: ties to roman past (classical) and ties to Byzantine empire: 4th crusade: invaded Constantinople instead of Jerusalem; brought back Byzantine art to Italy

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“Preach the Gospel at all times and when necessary use words.”

“If you have men who will exclude any of God's creatures from the shelter of compassion and pity, you will have men who will deal likewise with their fellow men.”

“While you are proclaiming peace with your lips, be careful to have it even more fully in your heart.”

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Anonymous. St. Francis Preaching to the Birds, from Basilica of San Francesco, Assisi. Begun 1290 (?). Fresco

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Anonymous. St. Francis Preaching to the Birds, from Basilica of San Francesco, Assisi. Begun 1290 (?). Fresco

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St. Francis: friar, started Francisican order, died 1226

Story that St. Francis had connection with the birds and animals; when he preached, they listened; also preached to poorest

Emphasizes nature as manifestation of God’s presence; all creatures connected

fresco: paint on wet plaster

Giornata=“day’s work”—could only do one portion at a time; sections visible now

Shallow stage; figures have bulk! Interest in space; also light! Light washes over forms, giving them mass and volume

Maybe by Giotto—we don’t know

2 trends in Italian painting: ties to roman past (classical) and ties to Byzantine empire: 4th crusade: invaded Constantinople instead of Jerusalem; brought back Byzantine art to Italy

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Interior of Upper Church, Basilica of San Francesco, Assisi. Begun 1228; consecrated 1253

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Interior of Upper Church, Basilica of San Francesco, Assisi. Begun 1228; consecrated 1253

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Burial place of St. Francis of Assisi; founded Franciscan order; believed God was present in nature; took vows of poverty; sought to help poor; wanted to help people visualize Biblical events (nativity scenes, etc.); native of Italy

Dominicans: lived in cities among people; served, taught, made art work (St. Thomas Aquinas)

Gothic age?

No nave arcade or aisles; not tall; no different levels; large wall surface instead; (Italians favored mural painting--fresco); paintings of the life of St. Francis

Fresco- a painting done rapidly in watercolor on wet plaster on a wall or ceiling, so that the colors penetrate the plaster and become fixed as it dries.

Gothic arches, some stained glass

2 trends in Italian painting: : ties to roman past (classical) and ties to Byzantine empire: 4th crusade: invaded Constantinople instead of Jerusalem; brought back Byzantine art to Italy

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After fall of Rome, no political unity in Italy (no central govt, not called Italy; separate city-states; mostly republics led by wealthy merchants; a few kingdoms or duchies in north (Venice, Genoa)

Republics vs. Duchies

Sometimes a Duchy becomes independent and acts as a small Kingdom. A Republic is a nation governed by elected representatives.

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Arnolfo di Cambio (?). Santa Croce, Florence. Begun ca. 1295

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Chapter 13: Art in Thirteenth- and Fourteenth-Century Italy

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Chapter 13: Art in Thirteenth- and Fourteenth-Century Italy

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Theme: Eve of the Renaissance

Thirteenth=Duccio (9:23)

And=Cimabue (5:37)

Fourteenth=Giotto (4:15)

7/15 Share favorite works

7/20 final projects

7/23 final at 10:30 a.m.

7/29 grades due by noon

Leading and largest Franciscan church (on the east side of town); Basilica plan; burial place of Michelangelo and Galileo (and other famous Italians)

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Connie Romrell

Left: Virgin with Dead Christ (Rottgen Pieta) Goth

Right:Michelangelo. Pietà. ca. 1498

Similarities: Both of the sculptures were done in a triangle form. Both Mary’s are looking at the dead Christ. Both Mary’s are seated. Both sculptures are The Virgin and the dead Christ. They are both showing the body of Jesus on the lap of his mother Mary after the Crucifixion.

Differences: The Christ in the Rottgen Pieta is looking toward us while the Christ in the Florentine Pietà is looking at his Mother Mary. There are some decorations on the base of the Goth one and not on the one from the renaissance. The one from the Renaissance is more full, more real life looking. The Florentine Pietà is made of Marble and is 174 cm × 195 cm (68.5 in × 76.8 in) while the Rottgen Pieta is made of wood and is 34.5in (87.5cm) high.

Conclusions: Both the Goth and the renaissance were trying to show the best way to depict Christ along with the Virgin. They are both pretty good works of art. They both caught the Mother Virgin’s countenance as very sad and mourning for her Son.

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New kind of religious image; meant for contemplation

Painted wood

Pieta=sorrow (pity as well as piety) : gut-wrenching; German expressionism

Emphasizes personal relationship with God; wants us to share horror of Christ’s suffering and identify with grief of Mary

Encourages Compassion (“to suffer with”)

Roots in past (compare with Ottonian Geru crucifix; weightier, more physical than Carolingian)

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Ekkehard and Uta, Naumburg cathedral. ca. 1249–55

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Ekkehard and Uta, Naumburg cathedral. ca. 1249–55

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Donors—honored as examples for funding 11th-century cathedral (new fundraising campaign; wanted to encourage new donors)

From the past, but individualized as if portrayed from life

gestures, gazes give human quality

Painted; outdoor sculptures were painted, too, but paint rarely survives

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Naumburg Master. The Kiss of Judas, on the choir screen, Naumburg cathedral. ca. 1255

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Naumburg Master. The Kiss of Judas, on the choir screen, Naumburg cathedral. ca. 1255

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Kiss of Judas, Peter cuts ear; graphic, woman on right gasps; expressive; Christ meek (contrast with Peter)

Color survives (inside)

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Naumburg Master. Crucifixion, on the choir screen, and the Virgin and John the Evangelist, Naumburg cathedral, Germany. ca. 1255

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Naumburg Master. Crucifixion, on the choir screen, and the Virgin and John the Evangelist, Naumburg cathedral, Germany. ca. 1255

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German sculpture: emotional, passionate, shows suffering

Less on outside of building, more on inside (because outside Romanesque longer; sculpture would have looked out of place)

Choir screen sets off space between nave and altar

Christ in center flanked by Mary and John; life size, near our level; brings down to earth physically and emotionally

Suffering of Christ becomes a human reality; emphasis on weight of his body

Look at scene above (next)

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Chapel of Henry VII, Westminster Abbey, London. 1503–19

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Chapel of Henry VII, Westminster Abbey, London. 1503–19

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Fan vaulting—architectural pageantry; complex vault patterns unrelated to structure of walls or vaults but have life of their own; obscure rather than clarify architecture