HA 116 - Survey of Art II (Renaissance to Rococo) Spring 2013 Lisandra Estevez Email: lestevez@pratt.edu Telephone: (718) 636-3598 Sections 12 & 13 Class Times and Location: Fridays 9:30-12:20 am; Fridays 2:00-4:50 pm; Main 212 Office Hours and Location: Fridays,12:45-1:45 pm East Hall Faculty Room 209

Introduction

Introduction

Review of the syllabus and course requirements

Introduction to Art in the 13th and 14th Centuries in Italy: The Greco-Roman, Byzantine, and Medieval Traditions

Equestrian Statue of Marcus Aurelius, Roman Imperial, 161-180 CE, Bronze, Over-life-size

Madonna Enthroned, Late 13th century CE, Byzantine Tempera on panel

Cathedral of Notre-Dame, Paris. ca. 120050, Gothic, Stone and stained glass

Art in 13th and 14th-Century Italy The Proto-Renaissance in Italy [1250-1350]

Required Works

Nicola Pisano. Pulpit, 1259-60, Marble, height 15, Baptistery, Pisa (13.6) Nicola Pisano Fortitude. detail of pulpit, 1259-60, Marble. Baptistery, Pisa (13.7) Nicola Pisano, Nativity. detail of pulpit, 1259-60, Marble. Baptistery, Pisa (13.8) Andrea Pisano. South Doors, Baptistery of St. Giovanni, Florence, 1330-36, Gilt bronze (13.13) Andrea Pisano. Baptism of Christ, from the south doors, Baptistery of St. Giovanni, Florence, 1330-36, Gilt bronze (13.14) Cimabue. Madonna Enthroned, c. 1280-90. Tempera on panel , 127 x 74 (13.16) Giotto:

Madonna Enthroned. c. 1310. Tempera on panel, 108 x 68 (13.17) Interior of the Arena (Scrovegni Chapel), 1305-6. Fresco. Padua, Italy. (13.18) Christ Entering Jerusalem. 1305-6. Fresco. Arena (Scrovegni) Chapel, Padua, Italy (13.19) The Lamentation. 1305-6. Fresco. Arena (Scrovegni) Chapel, Padua, Italy (13.20) Madonna Enthroned, center of the Maest Altar. 1308-11. Tempera on panel, height 610 (13.22) Christ Entering Jerusalem, from the back of the Maest Altar. 1308-11. Tempera on panel (13.24)

Duccio:

Simone Martini. The Annunciation, c. 1330. Tempera on panel, 10 x 89 (13.25) Ambrogio Lorenzetti. Allegory of Good Government (left), Good Government in the City (right) and portion of Good Government in the City (far right), Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338-40 (13.27):

Good Government in the City, 1338-40 (13.28) Good Government in the Country , 1338-40 (13.29)

Vocabulary

Relief The projection of a figure or part of a design from the background or plane on which it is carved or modeled. Sculpture done in this manner is described as high relief or low relief depending on the height of the projection. Altarpiece A painted or carved work of art placed behind and above the altar of a Christian church. It may be a single panel, a triptych (three panels), or a polytych (multiple panels). Triptychs, and polytychs have hinged panels that are painted on both sides. Quatrefoil An ornamental element composed of four lobes radiating from a common center. Modeling In painting, the process of creating the illusion of three-dimensionality on a twodimensional surface by use of light and shade. In sculpture, the process of molding a three-dimensional form out of a malleable substance. Tempera A medium for painting in which pigments are suspended in egg yolk and tempered with water or chemicals; this mixture dries quickly, reducing the possibility of changes in the finished painting. Fresco Italian word for fresh. Fresco is the technique of painting on plaster with pigments ground in water so that the paint is absorbed by the plaster and becomes part of the wall itself. Buon fresco is the technique of painting on wet plaster. Fresco secco is the technique of painting on dry plaster. Humanism A philosophy emphasizing the worth of the individual, the rational abilities of humankind, and the human potential for good. During the Italian Renaissance, humanism was part of a movement that encouraged the study of the ancient cultures of Greece and Roman; often it came into conflict with the teachings of the Catholic church. Pulpit - A raised platform or lectern in a church or chapel from which the preacher delivers a sermon. Baptistery A building next to a church used for Baptism.

Map of Italy in the 13th and 14th Centuries

Nicola Pisano. Pulpit, 1259-60, Marble, height 15, Baptistery, Pisa (13.6)

Nicola Pisano Fortitude. detail of pulpit, 1259-60, Marble. Baptistery, Pisa (13.7) Medium: n/aSize: n/a

Source/ Museum: n/a

Nicola Pisano Fortitude. detail of pulpit, 1259-60, Marble. Baptistery, Pisa (13.7)

Polykleitos.Doryphoros (Spear Bearer). High Classical Greek [440-400 BCE]

The Nativity. Byzantine [527-1453], Mosaic Nicola Pisano, Nativity. detail of pulpit, 1259-60, Marble. Baptistery, Pisa (13.8)

Arnolfo di Cambio, Francesco Talenti, Andrea Orcagna, and others Florence Cathedral (Duomo), 1296-1378; drum and dome done by Filippo Brunelleschi, 1420-36; Bell tower (campanile) by Giotto, Andrea Pisano, and Francesco TalentiTitle: Florence Cathedral and Baptistery seen from the air Artist: n/a Date: begun 1296 Source/ Museum: n/a Medium: n/a Size: n/a

Andrea Pisano. South Doors, Baptistery of St. Giovanni, Florence, 1330-36, Medium: gilt bronze Gilt bronze (13.13)Size: n/a

Source/ Museum: n/a

Quatrefoil design

Andrea Pisano. Baptism of Christ, from the south doors, Baptistery of St. Giovanni, Florence, 1330-36, Gilt bronze (13.14)

Cimabue. Madonna Enthroned, c. 1280-90. Tempera on panel , 127 x 74 (13.16)

Virgin and Child Enthroned (aka Mellon Cimabue. Madonna Enthroned, c. 1280-90. Madonna), Byzantine [527-1453] Tempera and Tempera on panel , 127 x 74 (13.16) gold on wood panel

Cimabue. Madonna Enthroned, c. 1280-90. Tempera on panel , 127 x 74 (13.16)

Technique: Panel painting

Giotto, Madonna Enthroned. c. 1310. Tempera on panel, 108 x 68 (13.17)

Cimabue. Madonna Enthroned, c. 1280-90. Giotto, Madonna Enthroned. c. 1310. Tempera Tempera on panel , 127 x 74 (13.16) on panel, 108 x 68 (13.17)

Arena (Scrovegni) Chapel, Padua, Italy

Giotto. Interior of the Arena (Scrovegni Chapel), 1305-6. Fresco. Padua, Italy (13.18)

Scrovegni (Arena) Chapel, Padua, Italy Patron: Enrico Scrovegni (shown to the left) presenting the chapel to the Virgin Mary

Technique: Buon fresco Giotto. Interior of the Arena (Scrovegni Chapel), 1305-6. Fresco. Padua, Italy (13.18)

Giotto, Christ Entering Jerusalem. 1305-6. Fresco. Arena (Scrovegni) Chapel, Padua, Italy (13.19)

Giotto, The Lamentation. 1305-6. Fresco. Arena (Scrovegni) Medium: fresco Chapel, Padua, Italy (13.20)Size: n/a

Source/ Museum: n/a

Giotto, The Lamentation. 1305-6. Fresco. Arena (Scrovegni) Chapel, Padua, Italy (13.20)

Detail of the angel mourning, from Lamentation Giotto, The Lamentation. 1305-6. Fresco. Arena (Scrovegni) Chapel, Padua, Italy (13.20)

(Top Left): Exterior view of Siena Cathedral (Right): Interior view of Siena Cathedral (into choir and apse)

Reconstructions of Duccios Maest Altarpiece

Reconstructions of Duccios Maest AltarpieceThe altarpiece stood on the main altar until 1506, when it was removed to the transept. It was dismantled in 1711, and many of the panels were subsequently acquired by European and North American museums.

Duccio. Madonna Enthroned, center of the Maest Altar. 1308-11. Tempera on panel, height 610 (13.22)

Agnolo di Tura del Grassos chronicle (dated c. 1350) describes the procession held in Siena Cathedral when the altarpiece was installed there in 1311: These paintings [the Maest] were executed by Master Duccio, son of Nicol, painter of Siena, the finest artist to be found anywhere at his time. He painted the altarpiece in the house of the Luciatti outside the gate toward Stalloreggi in the suburb of Laterino. On the 9th of June [1311], at midday, the Sienese carried the altarpiece in great devotion to the cathedral in a procession, which included Bishop Roger of Casole, the entire clergy, all monks and nuns of the city, and the Nine Gentlemen [Nove] and officials of the city such as the podest and the captain, and all the people. One by one the worthiest, with lighted candles in their hands, took their places near the altarpiece. Behind them came women and children with great devotion. They accompanied the painting up to the cathedral, walking in procession around the Campo, while bells sang joyfully. All the shops were closed out of devotion, all through Siena many alms were given to the poor with many speeches and prayers to God and to his Holy Mother, that she might help to preserve and increase the peace and well being of the city and its jurisdiction, as she was the advocate and protection of said city, and deliver it from all danger and wickedness directed against it. In this way the said altarpiece was taken into the cathedral and placed on the main altar. The altarpiece is painted on the back with scenes from the Old Testament and the Passion of Christ and in front with the Virgin Mary and her Son in her arms and many saints at the sides, the whole decoration with fine gold. The altarpiece cost 3000 gold florins. (Excerpt from Teresa G. Frisch, Gothic Art 1140 c. 1450 (Englewood Cliffs, NJ: Prentice Hall, 1971)

Duccio. Madonna Enthroned, center of the Maest Altar. 1308-11. Tempera on panel, height 610 (13.22) (Left) Detail of Virgin and Child (Right) Detail of the inscription along the base of the throne: Holy Mother of God, be the cause of peace to Siena, and of life to Duccio because he has painted you thus.

Duccio, Christ Entering Jerusalem, from the back of the Maest Altar. 1308-11. Tempera on panel (13.24)

Duccio, Christ Entering Jerusalem, from the back of the Maest Altar. 1308-11. Tempera on panel (13.24)

Giotto, Christ Entering Jerusalem. 1305-6. Fresco. Arena (Scrovegni) Chapel, Padua, Italy (13.19)

Title: Annunciation

Artist: Simone Martini Date: ca. 1330

Simone Martini. The Annunciation, c. 1330. Tempera on panel, 10 x 89 (13.25)

Simone MartiniThe Annunciation, c. 1330. Tempera on panel, 10 x 89 (13.25) (Left) Detail of the angel; (Right) Detail of the Virgin Mary

Simone Martini. The Annunciation, c. 1330. Tempera on panel, 10 x 89 (13.25)

Duccio, Annunciation of the Death of the Virgin, from the Maest Altar. 1308-11. Tempera on panel (13.23)

Palazzo Pubblico, Siena, Italy

Source/ Museum: n/a Ambrogio Lorenzetti. Allegory of Good Government (left), Good Government in the City Medium: fresco (right) and portion of Good Government in the City (far right), Sala della Pace, Palazzo Pubblico, Size: n/a Siena, Italy, 1338-40 (13.27)

Source/ Museum: n/a

Ambrogio Lorenzetti, Good GovernmentMedium: n/a in the City, 1338-40. Fresco. Sala della Pace, Palazzo Pubblico, Siena, Italy (13.28) Size: n/a

Ambrogio Lorenzetti, Good Government in the City, 1338-40. Fresco. Sala della Pace, Palazzo Pubblico, Siena, Italy (13.28) (Detail of women dancing in the street)

Ambrogio Lorenzetti, Good Government in the Country, 1338-40. Fresco. Sala della Pace, Palazzo Pubblico, Siena, Italy (13.29)

Summary

Thirteenth- and fourteenth-century Italian art has its roots in both Byzantine forms and Italian artists contacts with Roman and Early Christian precedents. It is the product of commissions by mercantile communities and wealthy urbanites rather than grand, aristocratic patrons. Naturally, the Church also sponsored various commissions. Accompanied by vivid preaching, religious art spoke directly to the laity. Artists in Tuscany (namely in Florence and Siena) developed striking ways to represent the natural world. Beginning with the close study of the Byzantine tradition, thirteenthand fourteenth-century painters sought to create images that reflected nature than had earlier medieval art. Artists such as Duccio and Giotto began to explore techniques for representing the effects of light on three-dimensional forms and for creating the illusion of threedimensional space. Painters such as Ambrogio Lorenzetti represented landscapes in fresco for the first time since Roman wall painting. Duccios and Giottos innovations respectively created a visual language that stressed a greater sense of naturalism.