Lecture 1

LECTURE 9/2/08 Italy not a country during Renaissance, was individual states mosaic was going out of fashion they?re almost indestructible: don?t burn, etc. made of tesserae tiles expensive, unforgiving to artists (difficult to work with) fresco replaced mosaic as a style of painting has to be done on fresh plaster cant let it dry until you?re done, is permanent once dries contain some sloppy-looking ridges where the artist took a break, came back and laid more fresh plaster Cavallini- does gradual color fading (vividwhite) Byzantine picture of Christ birth?depicts Mary as special mom, includes lots of gold threading/highlights LECTURE 9/4/08 Renaissance Italian invention and monopoly Fresco realized that around WWII you can remove fresco art from its base very long-lasting painting Giotto born outside of, and trained in Florence Franciscan thought: open peoples? eyes to what is in front of them the world has value and peoples? relationships are valuable Masacho born 1401 painted picture of Mary and Christ, realistic proportions on baby Crucifixion scene (Fresco) lone painting in Church, painted 1400s important people to his right (John, Mary) cruelty (Roman soldiers) to his left people mourning and collecting his blood key point that goes w/ crucifixion: promise of salvation after death 15th century sculpture Lorenzo Giberti?s bronze statue of St. John the Baptist bronze allows for more fine items to hold their shape as opposed to marble large folding garment very old fashioned compared to? Donatello?s sculpture of Cleo de Linda being rescued from dragon by St. George on horseback George is armored and spearing the demon Donatello also did lots of relief sculptures of Madonna and Christ often bought by wealthy people for something like a fireplace mantle figures overlap frame, putting them more in the foreground, and bringing them to life LECTURE 9/9/08 ***STOPPED TRANSFERRING NOTES HERE*** ?Ochello??- Paul Bird made many great perspective drawings/paintings battle scene painting use of perspective Antontio Pollaiuolo (Medici family) painting of a Roman soldier that wouldn?t convert back to Christianity as punishment, he was ordered to be killed by fellow soldiers relatively symmetric on both sides Andrea del Costano painting on leather shield of David over Goliath has already killed Goliath & the head is on the ground figure is in motion: more complicated Alberti made some artistic declarations/guidelines: declared that red, blue, green and gray are the four primary colors based off four elements: earth, wind, fire, water also says that dark colors standing among white ones is symbolic of dignity also says to never use gold leaf b/c it will destroy the effect of the real world you are trying to convey (glare and other false light manipulation) Piero della Francesca scene of the inside of Solomon?s palace the borders of the scene (columns, floor, ceiling) are all visible to give a grounding sense; one that lets you get a good grip on what it would be like to be there Constantine is in another scene on horseback, holding up a small white cross another scene, Christ is stepping out of his tomb landscape in the background is half dead, half alive (symbolic) another scene they are in a unicorn-drawn carriage driven by cupid unicorn symbolic of chastity Boticelli tempera medium on panel Galleria Degli Uffizi, Florence people symbolic of seasons. winter is leaving, spring is entering used ?line? in this picture: he outlined the figures w/ a black line to bring them out it was heavily debated as to whether it was appropriate in pictures around the time contains threads of gold leaf, namely in the ladies? hair paints his attractive women blonde, long-legged, long-necked to mirror Venus, God of Beauty Lecture 1: Giotto and the Fourteenth Century in Italyand the Holy Roman Empire Images marked with an asterisk (*) are not in your text and are only found here. InSitu | Electronic Flashcards | Help Cimabue (Cenni de Pepo), Madonna Enthroned with Angels and Prophets, 1280-90, tempera on panel, Galleria degli Uffizi, Florence (14-6) influenced by byzantine art w/ its careful symmetry, gold embellishments thought to be Giotto?s teacher in this depiction, Madonna is interacting with the child for the first time Pietro Cavallini, Last Judgment, Santa Cecilia in Trastevere, ca.1291, fresco; Detail of left half showing Seated Apostles (14-5) Giotto, Madonna Enthroned (Ognisanti Madonna), ca.1310, tempera on panel, Galleria degli Uffizi, Florence (14-7) interested in natural behavior/emotion/scenes based on observation of the visible world and nature but, distorted the baby?s face to look like an adult?s characters actually occupy real space and have substance, dimensionality and bulk Giotto di Bondone, General view of the Arena Chapel (Capella Scrovegni), Padua, ca. 1305-06, fresco (14-8) free-standing Chapel hall with 3 rows of paintings on either side pics of narrative of Joachim and Anna 2nd level life and mission of Christ 3rd level his Passion, Crucifix and Resurrection also has pic of Christ, apostles on either side, angels above, normal people below on Christ?s right are people waiting to be received, on his left, the damned another pic: Judas comes to arrest Christ with Roman soldiers Judas kisses Christ Judas is ugly: symbolizing bad morals. yellow garb=deceit Christ is pretty, symbolizing good morals *Giotto di Bondone, Meeting of Joachim and Anna, Arena Chapel (Capella Scrovegni), Padua, ca.1305-06, fresco in the Mary narrative: her parents meet in a picture under the city gate to Jerusalem (named Joakim and Anna *Giotto, Flight into Egypt, Arena Chapel (Capella Scrovegni), Padua, ca.1305-06, fresco The Arena Chapel (Joto) the flight to Egypt: Mary and Christ go there ?til its safe to return safe from Hera?s order to kill all Jewish boys younger than 2 Giotto di Bondone, Lamentation, Arena Chapel (Capella Scrovegni), Padua, ca.1305-06, fresco (14-9) another pic: lamentation after Christ is removed from cross and is about to be buried halos of Madonna and Christ are sort of glued together/touching all characters have sharper profile/masculine-looking naturalism: emotion is conveyed so well through postures and gestures *Duccio di Buoninsegna, Rucellai Madonna, 1285, tempra on panel, Galleria degli Uffizi, Florence Duccio di Buoninsegna, Virgin and Child Enthroned with Saints, central panel of the Maestą Altarpiece, 1308-11, tempera on panel, Museo dell'Opera del Duomo, Siena (14-10) Mary and Christ painting Mary on throne surrounded by saints as the Queen of Heaven symmetry from Byzantine tradition no depth perception b/c the painting had more of a functional purpose on the altar so there was not much room for experimentation Duccio di Buoninsegna, Betrayal of Jesus, detail from the back of the Maestą Altarpiece, 1308-11, tempera on panel, Museo dell'Opera del Duomo, Siena (14-11) Simone Martini (and Lippo Memmi?), Annunciation,1333, tempera on panel, Galleria degli Uffizi, Florence (14-12) picture w/ Archangel Gabriel approaching Mary and her sinking into chair (fear) when pic ages, it gets sort of gold/bronze white lilies symbolize the immaculate conception and can be found in many pics blue gown symbolic of her as Queen of Heaven $$, elaborate and ornate painting of M & Christ w/ sophisticated colors, etc.