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Brief overview of important works from the Proto-Renaissance and International Gothic
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Introduction: The Proto-Renaissance Style and International Gothic
Map of Proto-Renaissance Europe, c.1350.
Proto-‐Renaissance
Dates and Places: • 1300-1400 • Northern Italian
Republics (Milan, Mantua, Bologna, Padua, etc. )
People: • Decline in feudalism • Social stability • Little threat of warfare • Thriving trade market • Private patrons
Gio8o di Bondone, Enrico Scrovegni dedica<ng chapel (scene from Arena Chapel), c. 1305. Fresco,
78” x 77.” Padua, Italy.
Florentine Painting Example: • Fresco program in
family chapel • Pioneer of naturalistic
treatment of figures • Drapery reveals body • Emotional expression • Shallow, illusionistic
space for narrative • Overlapping used to
create illusion of space Gio8o di Bondone, Lamenta(on (scene from Arena Chapel), c. 1305. Fresco, 78” x
77.” Padua, Italy.
Floren<ne Pain<ng Example: • Gio8o (1267-‐1336/7) • Private patron (Scrovegni)
• Style based on Byzan<ne and Early Roman frescoes, sculpture of Pisano – Each figure separate geometric body in three dimensional form
– Naturalis<c features – Expressive emo<on
Gio8o di Bondone, The Crucifixion (scene from Arena Chapel), c. 1305. Fresco, 78” x 77.” Padua,
Italy.
Gio8o di Bondone, Arena Chapel leV (exterior) and right ( Interior of the Arena Chapel, facing east.) Padua, Italy.
Proto-‐Renaissance
Example: • Theotokos= “God-bearer” • Marriage of Byzantine and
Gothic elements • Figures have weight • Division of space symbolically and formally
• Influence of Italian architecture Gio8o di Bondone, Madonna Enthroned, ca. 1310. Tempera on panel, 10’8” x
6’8”. Galleria degli Uffizi, Florence. Fig. 12.10
Proto-‐Renaissance
Social/Political/Economic:
• Ruling families compe<ng
• Black Death (1348-‐1350) – Es<mated 75-‐200 million dead
– Spread through Silk Road
Map of Silk Route via land and water.
Sienese Painting
Duccio di Buoninsegna, Virgin and Child Enthroned with Saints, 1308–1311. Tempera on panel, Museo dell’ Opera del Duomo. Fig. 12.11.
“Holy Mother of God, be the cause of peace to Siena, and to the life of Duccio because he has painted you thus.
Sienese Painting Example: • Altarpiece • Theotokos • Wood panels • Civic pride • Cult of the Virgin Mary • Shifting from Italo-
Byzantine to more naturalistic style
• Influence of tapestry industry
• More dynamic posture and fluidity of fabric
Duccio di Buoninsegna, Virgin and Child Enthroned with Saints, 1308–1311. Tempera on panel, Museo dell’
Opera del Duomo. Fig. 12.11.
Proto-Renaissance Example: • Rivals (Florence vs.
Siena) • Italian humanism • Increasing interest in
antiquity and study of Roman sculpture
• Growing naturalism of figures and spaces
• Cimabue = Italo-Byzantine
• Giotto anticipates Renaissance
Left: CIMABUE, Madonna Enthroned with Angels and
Prophets, ca. 1280–1290. Fig. Right: GIOTTO DI BONDONE,
Madonna Enthroned, ca. 1310. Fig. 12.10
Sienese Painting
Ambrogio Lorenzec, The Allegory of Good and Bad Government, 1338-‐1340. Fresco, Sale della Pace, Palazzo Pubblico, Siena. Fig. 12.12
Sienese Painting Example: • Public
commission • Civic content, not
religious • Combines color
of Duccio and naturalism of Giotto
• Allegory of morality
Ambrogio Lorenzec, The Allegory of Good and Bad Government,
1338-‐1340. Fresco, Sale della Pace, Palazzo Pubblico, Siena. Fig. 12.12
Sienese Painting
Example: • Assembly of virtues
rule good government (present are Justice, Wisdom, Pax (relaxes)
• Large, middle figure personification of Siena (hierarchy of images)
Ambrogio Lorenzec, detail The Allegory of Good and Bad Government, 1338-‐1340. Fresco, Sale della Pace, Palazzo Pubblico, Siena.
Sienese Painting
Example: • Ambrogio Lorenzetti,
The Common Good of Siena personified and flanked by the Classical Virtues. Romulus and Remus are at his feet. Soldiers lead captive Florentines on the lower right.
Ambrogio Lorenzec, detail The Allegory of Good and Bad Government, 1338-‐1340. Fresco, Sale della Pace, Palazzo Pubblico,
Siena.
Sienese Painting Example: • Tyranny sits surrounded by vices (avarice, pride, and vainglory) in an inversion of the Allegory of Good Government.
• Joining Tyranny in an architecture of war are personifica<ons of treason, cruelty, fraud, fury, war, and divisiveness
• At Tyranny’s feet Jus<ce is shown bound
Ambrogio Lorenzec, detail The Allegory of Good and Bad Government, 1338-‐1340. Fresco, Sale della Pace, Palazzo Pubblico, Siena.
Sienese Painting
Example: • Combines color of
Duccio and naturalism of Giotto
• Effects of good government in the city shows people happy, dancing, a good economy Ambrogio Lorenzec, detail The Effects of Good
Government in the city, from the Siena frescoes 1338-‐1340. Fresco, Sale della Pace, Palazzo Pubblico,
Siena.
Sienese Painting
Example: • City is shown in disarray • Buildings in poor
condition, an atmosphere of fear and violence rules
• Violent acts dominate the scene
Ambrogio Lorenzec, detail The Effects of Bad Government in the city, from the Siena frescoes 1338-‐1340. Fresco, Sale della Pace, Palazzo
Pubblico, Siena.
Interna<onal Gothic Style Dates and Places: • mid 13th through mid 14th
centuries • France, Flanders,
Germany, Spain, Bohemia, Austria, England, etc.
• Flourishes within the Proto-Renaissance period
People: • Nobles and merchants • Pious and prosperous • Interested in visible world
Gen<le da Fabriano , The Adora(on of the Magi, 1423.
Tempera on wood, 80” x 111.” Galleria degli Uffizi, Florence.
Interna<onal Gothic Style
Example: • Developed as a result of
common aesthetic of courtly elegance
• Exhibits Gothic influence. • Simone Martini major
contributor to development of style
• Words from Gabriel’s mouth, “Hail favored one! The Lord is with you
• Epitomizes period through lavish costumes, brilliant color, intricate detail and ornamentation
Simone Mar<ni and Lippo Menni, The Annuncia(on, 1333.
Tempera on panel, 72 ½” x 82 5/8.” Galleria degli Uffizi, Florence.
Interna<onal Gothic Style Example: • Created for Siena Cathedral. • Characteristic of artist’s style is
the work’s elegant shapes, rich color, weightless figures, use of gold and punchwork technique, and fluttering line.
• Simone Martini adapts French Gothic style with Sienese and fuses these with influences from Northern Europe.
• Arch and delicate filigree recall Gothic architecture.
• Themes and decoration appeal to royal courts.
• Use of symbolism – Gold = divinity – Lilies=Mary’s purity
Simone Mar<ni and Lippo Menni, The Annuncia(on, 1333.
Tempera on panel, 72 ½” x 82 5/8.” Galleria degli Uffizi, Florence.
Northern Europe
Dates and Places: • 1400 to 1500 • Burgundy, Flanders,
France and the Holy Roman Empire
People: • Nobles and merchants • Pious and prosperous • Interested in visible world
Claus Sluter, Well of Moses, from the Chartreuse de
Champmol, 1395–1406. Stone, height of figures approx. 6’.
Fig. 13.1.
Northern Europe
Example: • Originally known as The
Great Cross (now lost) • Monument in Carthusian
cloister housing remains of Philip the Bold and family
• Old Testament Prophets • New Testament • Naturalistic style break
with medieval style • Expressionistic angels
Claus Sluter, Well of Moses, from the Chartreuse de
Champmol, 1395–1406. Stone, height of figures approx. 6’.
Fig. 13.1.
Interna<onal Gothic Style
Themes: • Mix of religious and political • Personal aggrandizement • Feudalism
Forms: • Joins French Gothic with 14th
century Italian naturalism • Book of Prayers= private,
devotional use • Mix of religious piety with
astronomy and astrology • Division of classes
Limbourg Brothers, Les Trés Riches Heires du Duc de Berry, calendar miniature for July, 1413-1416.
Illumination on vellum, 8 7/8” x 5 3/8.” Musée Condé, Chantilly, France. Fig.
13.2
Interna<onal Gothic Style
Example: • Extremely detailed
– Possible inspira<on for Northern Renaissance (especially Flemish)
• Observed from nature • Caricature of poor
Limbourg Brothers, Les Trés Riches Heires du Duc de Berry, calendar miniature for February, 1413-‐1416. Illumina<on on vellum, 8 7/8” x 5
3/8.” Musée Condé, Chan<lly, France.
