What were some of the artistic changes? that produced art during this period? What is the guild system of art? What does the word Renaissance mean?

Transcription

1 What were some of the artistic changes? What were some of the Italian cities that produced art during this period? What is the guild system of art? What does the word Renaissance mean?

2 Proto (Early) Renaissance Italy

3 What you need to know about Late Gothic Black Death wipes out 25% of Europe Also known as Proto-Renaissance Gothic ARCHITECTURE = France Late Gothic PAINTING = Italy Think of Late Gothic Painting as the Hellenistic Period of the High Gothic Era Emotional, Detailed, and a more Humanistic Connection

4 It refers to the pre-renaissance period (c ) in Italy, with progressive painters such as Giotto, who pioneered the new form of figurative "realism", which was fully developed by artists during the Renaissance era. The main types of art practiced during the ProtoRenaissance period included: fresco mural painting, tempera panel painting, book illuminations, relief sculpture, goldsmithing and other forms of metalwork. Most of the artistic developments of the trecentro Proto-Renaissance period had a direct effect on Early Renaissance painting (c ).

5 Gothic art in Italy forms a bridge between Medieval and Renaissance art. The artist becomes an important historical personality whose life story can be traced and recorded Aspects of ancient sculpture are revitalized under the artistic leadership of the Pisani family The Sienese and Florentine schools of painting dominate trecentro art (13th and 14th century Italian art).

6 Artists worked in a guild system in which artwork was regulated. Guilds were artist associations that determined how long apprenticeship should take, how many apprentices an artist could have, and the route to become an established artist. After a successful internship, former apprentices entered the guild as mature artist and full members.

7 Cue Card Nicola Pisano Pulpit of Pisa Cathedral Baptistery , marble, approximately 15 ft. high 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, threedimensional 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 like that represented in painting by the work of Giotto.

8 Giovanni Pisano Pulpit, Sant Andrea Pulpit: five panels circle around the elevated pulpit; Gothic Corinthian capitals closer in design to ancient capitals than to contemporary French; round arches cusp in French Gothic style; antique lions at the base; nude heroic figure of Hercules symbolizing Christian bravery and strength Annunciation and the Nativity Very crowded composition of figures layered atop one another; massive drapery that forms logically around bodies hat are stocky and solidly conceived; as in Italian painting, facial expressions and gestures enliven figures who communicate with one another Compare son s to father s

9 14-5: Saint Francis Altarpiece, Bonaventura Berlinghieri, San Francesco, Pescia, Italy, 1235, Tempera on wood Cue Card Receiving the stigmata Painted in the Italo-Byzantine style or maniera greca (Greek Manner) Earliest know representation of St. Francis of Assisi St. Francis preaching to the birds

10 Cue Card Cimabue 14-6: Madonna Enthroned with Angels ca tempera on wood 12 ft. 7 in. x 7 ft. 4 in. Compare with Byzantine Theotokos One of the first artist to break from the ItaloByzantine style, he challenged major conventions of late medieval art in pursuit of a new naturalism, close observation of natural world - core of classical tradition

11 Cue Card Maniera greca; figures rise in a hieratic Byzantine manner Emphasis on flatness of forms; angels hover around throne Long, thin elegant figures; strong verticality Flecks of gold define drapery folds Virgin Mary as the Throne of Wisdom points to Christ as the way to salvation Mary with Byzantine-shaped face and stylized features Not Byzantine in size; Byzantine icons are portable Figures on bottom represent a changing style; figures have weight, solidity, bulk

12 Cue Card Giotto displayed the Byzantine style in Italian painting and revived classical naturalism. His figures have substance, threedimensionality, and bulk. Angels stand more naturally around the Gothic throne Mary is more human 14-7: Giotto di Bondone, Madonna Enthroned, ca tempera on wood, 10 ft. 8 in. x 6 ft. 8 in.

13 Weight, size, solidity, threedimensionality, bulk Mary s breast and knees revealed beneath drapery Angels stand more naturally around the Gothic throne Perspective indicated in the positioning of the side panels of the throne and the shadowing of the steps Some faces turn away from the picture plane Mary as the mother of Christ, but also become more human

14 14-1: Giotto di Bondone Interior of the Arena Chapel Padua, Italy fresco Cue Card

15 A Chapel Built to be Painted The Arena Chapel gets it name from the Roman amphitheater that is near by and was built for a local 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 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. Giotto Di Bondone, Interior of the Arena Chapel, , Padua, Italy

16 Last Judgment

17 14-8: Giotto di Bondone Lamentation, from the Interior of the Arena Chapel, Padua, Italy, , fresco Shallow stage. Figures occupy a palpable space pushed forward toward the picture plane Diagonal cliff formation points to main action daringly placed in lower left-hand corner Modeling indicates direction of light, light falls from above right Range of emotions; heavy sadness, quiet resignation, flaming outbursts, despair Sadness of scene emphasized by grieving angels, barrenness of tree Figures on the lower left are seen from the back and isolate the main action Clear foreground, middle ground, and background Cue Card

18 Giotto Di Bondone, Lamentation, Arena Chapel Joachim's Dream Ascension The Illusion of Depth Predecessor to Chiaroscuro the use of dramatic contrasts of dark and light to produce modeling

19 Fourteenth Century Italy Cue Card 14-9: Duccio Di Buoninsegna, Virgin and Child Part of a large altarpiece called the Maesta, he carved Enthroned with Saints Principle panel of the Maesta his name into the base of the altarpiece, from the Siena Cathedra, Virgin s throne Siena, Italy, Tempera on wood panel Depicts the Virgin enthroned as the Queen of Heaven amid angels and saints The composition s 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.

20 Cue Card Predella: the base of an altarpiece that is filled with small paintings, often narrative scenes Predella

21 Duccio, Maesta altarpiece, Betrayal of Jesus

22 Giotto Cimabue Unlike most Byzantine art, both paintings use perspective (a hallmark of Renaissance art) to represent threedimensional space. The throne in Cimabue's painting sits on a curved platform. In Giotto's painting, on the other hand, the three dimensional throne above the Madonna's head not only adds depth but also projects the figure toward the viewer. Giotto's Mary is also more firmly anchored to the ground, while Cimabue's Mary seems almost to float in space. In the first painting, Mary, Jesus, and the angels are painted without much attention to individual expression. Each of the angels on the left has an almost identical counterpart on the right. The four apostles depicted at the bottom of the painting are much more individualized in their features and poses. In Giotto's painting, Mary, Jesus, and the angels are all different from each other. The angels are still symmetrically arranged, but each angel on the left is subtly different in expression from its counterpart on the right. The Holy Mother is holding her Son in a much more realistic position.

23 Creating an International Style Martini s own style did not quite reach the full exuberance of the developed International Style, A style of 14th- and 15th-century painting begun by Simone Martini, who adapted the French Gothic manner to Sienese art fused with influences from the North. This style appealed to the aristocracy because of its brilliant color, lavish costume, intricate ornament, and themes involving splendid processions of knights and ladies. Elegant shapes and radiant color: flowing, fluttering line; and weightless figures in a spaceless setting characterize the Annunciation. Cue Card Simone Martini Annunciation, 1333 Galleria degli Uffizi, Florence 14-3; Simone Martini, Annunciation Siena Cathedral, 1333 Tempera on gold leaf on wood

24 14-14: Pietro Lorenzetti, The Birth of the Virgin Altar of Saint Savinus, Siena Cathedral, Siena, Italy 1342 Tempera on wood Cue Card Pictorial illusion Structural innovation Simone Martini, Annunciation

25 Part of the Marian cycle of paintings in Siena Cathedral Pioneering attempt at building an interior space, with the three parts of the triptych suggesting a single common viewpoint St. Anne gives birth inside a Sienese home; everyday items depicted St. Anne reclining, as women wash newborn Mary in a basin At left, St. Joachim, Mary s father, is in an antechamber hearing the news of the birth of his daughter Windows open up to reveal further arches and walled spaces beyond, expressing depth; innovative use of pier that establishes picture plane and does not separate the space of the center and right-hand panels

26 Center of Siena s civic government Cue Card Fortress-like exterior gives the impression of an impenetrable building Huge bell tower (campanile) dominates the façade, the city square, and the city as a whole Symbolically puts the building in competition with the cathedral 14-15: Palazzo Pubblico Sienna, Italy,

27 14-16: Plaza Pubblico, , Siena, Italy

28 Located in the Public Palace in Siena where judges met to adjudicate issues of Sienese law Highly literate society for its time; inscriptions on the paintings are in Latin and Italian; Lorenzettis signature prominently displayed City: cityscape scene from a high viewpoint, perhaps a tower, overlooking a prosperous town run by efficient laws; dancing in the street (technically illegal in Siena) symbolizes the success of good government and the peacefulness and joy it brings; crafts and trades flourish; schools are open; new buildings under construction; emphases placed on food being brought into the city 14-16: Plaza Pubblico, , Siena, Italy Peaceful City, Effects of Good Government Cue Card

29 Visualizing Good Government Ambrogio Lorenzetti Peaceful City, Siena Italy Peaceful City is a panoramic view of Siena, with its clustering palaces, markets, towers, churches, streets, and walls. The city s traffic moves peacefully, the guilds members ply their trades and crafts, and a cluster of radiant maidens, hand in hand, perform a graceful circling dance. The artist fondly observed the life of his city, and its architecture gave him an opportunity to apply Sienese artists rapidly growing knowledge of perspective.

30 County: peaceful villas set in landscape again surveyed form above, filled with 14-17: Country, Effects of port Good vineyards, orchards, andpeaceful bountiful harvests; distant ingovernment the background for the shipment of goods; figure of Security holding a gallows insures fair justice for all; aristocrats leave town to go falconing; farmers bring livestock and grain to market The view of the countryside - one of the first instances of landscape painting since antiquity

31 Florence Cathedral Cue Card Matched designs 14-18: Florence Cathedral Florence, Italy, begun 1296 Campanile (Bell Tower) is designed by Giotto di Bondone

32 Giotto designed the campanile, perhaps altered after his death, Campanile: crisply divided horizontal sections tack floors one above the other; variously colored marbles inspired by Italian Romanesque buildings; patterns of rectangular blocks of marble cover the surface Façade finished in the 19th century

33 Andrea Orcagna Tabernacle Or San Michele, Florence, Italy ca mosaic, gold, marble, lapis lazuli Bernardo Daddi Madonna and Child with Saints

34 French Gothic quatrefoil frames Compare to doors of St. Michael s Church, Ottonian - Medieval period

35 Late Gothic art in Italy is a bridge period between the Middle Ages and the Renaissance. Italian artist were inspired by Roman works, broke away from Byzantine traditions and establish to schools of painting: The Sienese and the Florentine Art from Siena is marked by figures that are closer aligned to French Gothic art: thin, elegant, aristocratic, and decoration all aspects of International Gothic Style. Florentine artist concentrate on mass and solidity, often using shading to create the suggestion of three dimensions.

36 CIMABUE versus GIOTTO In Purgatorio 11, while commenting on the fleeting nature of artistic reputation, Dante notes that: "Cimabue once thought that he held the field in painting, and now Giotto has the praise, so much so that the other's fame is obscured. Why did Giotto so quickly surpass his teacher? Art historians have noted that while Cimabue began to break away from the Byzantine style of painting that had dominated Europe since the beginning of the Middle Ages, Giotto's innovations were much more radical and systematic.." Explain the quote by comparing and contrasting the painting of Cimabue with Giotto. Why is Giotto considered the first Renaissance painter?