Tuesday, February 28, 2017
Saturday, February 25, 2017
Monday, February 13, 2017
colourpop | purchases
a couple of days ago, i saw a post on twitter talking about how colourpop was having some kind of valentine's day deal- buy $15 or more & get free shipping. now, usually i don't wear make-up other than lipstick but i decided to have a look anyways.
i ended up purchasing 2 items & they finally came.
now, my lips always get dry whenever i wear my lipsticks so when i saw this "lippie primer" (below, left), i thought wow i probably should check this out.
i also wanted to buy a lippie that actually had color so i chose the darkest color out of my three maybes- "only you" (below, right) which is described as a mocha color.
i haven't tried either one just yet but i'm really excited to & hopefully they don't disappoint.
if you use colourpop, have any experiences w it, or have a favorite product, don't be afraid to comment & let me know. i would love any suggestions :)
Sunday, February 12, 2017
Monday, February 6, 2017
ch. 21 | the renaissance in quattrocento italy
- elevation of the individual
- major shift of power from church to the patron
- lorenzo ghiberti
- filippo brunelleschi
- donatello
- verrocchio ("true eye")
- pollaiuolo (human form in action)
- jacopo della quercia
- masaccio (couldn't make a living w sculpture so started painting)
- fra angelico (lived in a monestary)
- andrea del castagno (powerful last supper depiction)
- paolo uccello
- sandro botticelli (birth of venus, primavera)
- perugino
- luca signorelli
- piero della francesca
- mantegna (leads up to birth of high renaissance, full perspective figures, foreshortening)
early italian renaissance:
-condottiere
-di sotto in su
-ogival
-orthogonal
-pilaster
-tondo
-tromp l'oeil
-revitalization of classical ideals
-humanism, secular
-anatomy/nudes
-architecture: open light spaces, balance, symmetry
-painting: linear perspective (Brunelleschi)
-perspective/proportions
renaissance humanism:
- shift in focus from divine subject matter to human endeavors in life & art
- emphasis on potential of individual
- spirit of competition & quest for human excellence
the medici of florence:
- giovanni (banker, merchant)
- cosimo (refurbished & updated dominican library at s. marco, supported fra angelico)
- lorenzo the magnificent (master patron of arts, endowments equivalent to $20 million in 15th c)
the florentine revival:
-medici family as patrons
-italian architects revived classical style
-medici family as patrons
-italian architects revived classical style
-focus on sculpture
-revival of:
-revival of:
- equestrian monuments
- death masks (lorenzo medici, ghiberti)
- statuettes in bronze of mythological figures for domiciles (marsyas, herakles, hermes)
- church pulpit & door embellishments
commission competition (1401)
- important not only for quality of work submitted but also showcased key elements associated w mature Renaissance art:
-personal/guild patronage
-esteem accorded to individual artists
-development of new pictorial illusionism
- focus on God's order to Abraham to sacrifice his son Isaac as a demonstration of devotion
fig. 21-2
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| brunelleschi east doors- baptistry of duomo 1401-1402 subject mater: sacrifice of isaac theme: history (sacred) uses more material quatrafoil design tell story w images focal point is isaac & abraham violent movement & high emotion |
fig. 21-3
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| ghiberti east doors- baptistry of duomo 1401-1402 subject mater: sacrifice of isaac theme: history (sacred) more comtemporary, believable, naturalistic, muscles angel- foreshortening grace & smoothness Abraham in a Gothic pose (outthrust hip) figure of Isaac recalls Greco-Roman statuary |
fig. 21-10
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| gates of paradise- ghiberti north doors baptistry duomo florence 1425-52 bronze w gold gild |
-first renaissance art historian
-Commentarii book 1 talks about admiration for naturalistic art of classical antiquity
-Commentarii book 2 deals w the art of his own time & an autobiography of him
-Commentarii book 3 talks about the disciplines that a sculptor must master
-praises Cavallini, Orcagna, Lorenzetti, Martini, Duccio
-admired sculptors: Giovanni, Pisano
-fame & glory increasingly accorded to individual achievement in 15th century italy
fig. 21-9
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| Isaac and his sons- lorenzo ghiberti east doors of Gates of Paradise of the Baptistery of San Giovanni 1425-1452, gilded bronze, Florence, Italy linear perspective, vanishing point |
-Quattrocento: development of linear perspective
-developed by filippo brunelleschi
-perspective= "to see through"
-trying to represent depth in a 2-D painting or relief
-brought all visual sensations under a simple rule that could be expressed mathematically
-perspective was a way to order & clarify their compositions
-allows artists to determine mathematically the relative size of objects to correlate them w visual recession into space
-artist needs to identify the horizon line, select a vanishing point, & draw orthogonals
Donatello:
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| saint mark- donatello designed for architectural niches the noble visage (face)- saints look like wise elders |
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pazzi madonna- donatello
subject: christ child & mother mary, 1422
intimacy & emotional connection
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| judith & holofernes- donatello holofernes= assyrian general that was pillaging judith's city he got drunk & she decapitated him engages you from all angles |
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| the penitent magdalene- donatello c. 1455 subject matter: woman in prayer genre: history- sacred/portrait medium: sculpture technique: reductive pathos |
fig. 21-11
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david- donatello (1440-1460)
head of goliath at feet
genre: history-sacred/portrait
nude- only wearing hat & boots
contraposto pose
more feminine
feather |
fig. 21-12 |
| david- verrocchio (1465-1470) head of goliath at feet genre: history-sacred/portrait stronger, more physically developed hero pose |
- pathos- expression of extreme sadness, grief or depression
ART & SOCIETY: IMITATION & EMULATION IN RENAISSANCE ART
-renaissance artists valued imitation
-many 15/16th century artists developed unique styles but convention predominated
-certain themes, motifs, & compositions appear regularly
-imitation: renaissance artists believed that the best way to learn was to copy the works of masters
-emulation: next step after imitation; modeling one's art after that of another artist
Brunelleschi:
-linear perspective ingenuity manifested in architecture
-development of hydraulic system to elevate bricks & mortar
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| cupola of Duomo- filippo brunelleschi 1420-36 unique eight rib engineering of "Double" cupola- 2 domes |
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| interior of Santo Spirito- brunelleschi 1434-35 logic & order. equal articulation of arcades corinthian columns, coffers (cut out boxes) to get rid of weight clerestory windows (round ocular windows) perfect geometry, order, harmony, ideal light |
- clerestory windows: (round ocular windows) any window you can't see out of, above eye level, alludes to light of heaven, separation of mortal & divine
fig. 21-30
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| ospedale degli innocenti- brunelleschi florence, italy, 1419 hospital /facility for protection of young children medallions btwn each arch have details of children swaddled children- protection/cared for |
ART & SOCIETY: ITALIAN RENAISSANCE FAMILY CHAPEL ENDOWMENTS
-very wealthy families sponsored chapels in the form of separate buildings adjacent to churches
-endowed to ensure the well-being of souls of individual family members & ancestors
-served as burial sites & spaces for liturgical celebrations & commemorative services
-chapel owners sponsored masses for the dead
-1215, the concept of purgatory was officially recognized by pope innocent III
-lead to trying to earn salvation through good work/deeds & devotional practices
-most patrons also commissioned decorations (painted altarpieces, frescoes, sculptures)
ARTISTS ON ART: LEON BATTISTA ALBERTI'S ON THE ART OF BUILDING
-wrote De re aedificatori libri X (on the art of building in ten books)
-first renaissance architect to understand classical architecture in depth
-sought to ennoble the profession of architect
-believed that designs should reflect the laws of nature & conform to mathematical formulas
-brunelleschi & alberti shared belief in eternal & universal validity of numerical ratios as sources of beauty
equestrian monuments:
- prototype from roman antiquity: marcus aurelius - propaganda: might of roman empire
fig. 21-15
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| gattamelata- donatello equestrian figure, 1453 downturned mouth, staring off into space ball under horse anchors structure - functional device |
fig. 21-16
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bartolommeo colleoni- verrocchio
1496
chest puffed out, looking down on you,
prouder, horse armored
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battle of the nudes- pollaiuolo
circa 1470
medium: printmaking
technique: inaglio
method: engraving
all muscles are tense, focus on anatomy
|
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| expulsion of adam and eve from the paradise- jacopa della quercia contrapposto (shift in weight) & temptation/expulsion iconography adam's furrowed brow, eve's coquettish look power of body language: gesture, gaze, torque adam's taking the brunt of physical punishment |
fig. 21-20
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| holy trinity-masaccio 1427, buon fresco ideal geometric architecture implied linear perspective: illusion of 3 dimensional space memento mori (skeleton at bottom)- in case you don't subscribe to faith- propaganda dove (around God's neck) of holy spirit descending onto christ body twisted slightly ionic capitals |
fig. 21-19
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| expulsion of adam & eve from eden - masaccio eve's eyes hollowed out lines = God's voice angel= foreshortening emotional suggested landscape anatomical accuracy |
fig. 21-18
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| tribute money- masaccio pedagogical iconography branacci chapel- santa maria del carmine florence, 1427 sculptural forms into painted figures synoptic narrative 3 stories in one- tax collector, jesus telling them to get money out of fish, getting money out of fish skin color of tax collector= "an outsider" |
iconographical components:
- the last supper
- symbol of divinity: (christ) (open window)
- symbol of humanity: (disciples) (12 tribes)
- spiritual sustenance: (bread)
- sacrifice: (wine) (extended arms/to frame)
- betrayal: judas, figure of dark complexion, coins, knife
- trinity (primary colors) open window, inexplicable light source
fig. 21-22
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| last supper- andrea del castagno refectory- s. apollonia, florence 1447, buon fresco judas on other side of table & darker & w/o halo marble window points towards main scene |
fig. 21-21
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| annuncation- fra. angelico ca. 1438-1447, fresco san marco, florence, italy accurate bodies & drapery |
fig. 21- 28
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| primavera (Spring)- sandro botticelli tempera on wood, 1482 cycle of life of a woman tree arch= "de facto halo" flowers in prime of reproductive time cupid is blindfolded medici oranges- so wealthy that they had oranges even tho they don't have it in italy lorenzo the magnificent or mercury (hermes) picking oranges turned away- he's gay & physically uninterested in the women three graces dancing- ideal /prime characteristics of the female in society, diff angles of human body, classical & peaceful diaphanous gown- see through zephyr (west wind)- sucking the life out of her |
fig. 21-1
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| birth of venus- botticelli 1486 venus arose from seafoam- goddess of love & intellect based off greco-roman prototype zephyr & flora, her attendant |
fig. 21- 28A
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| young man holding a medal- sandro botticelli medal of cosimo de' medici circa 1475 gold coin- wealth, red cap- associated as cleric no separation of church & state- corruption |
fig. 21-42
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| the damned cast into hell (or damnation)- luca signorelli 1499-1502, fresco polychromatic foreshortened muscular bodies propaganda- last judgement kind of thing |
piero della francesa:
- became one of the most innovative of cusp of high renaissance
- nickname: walnut eyes
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| baptism of christ- piero della francesa 1450, tempera on wood sense of calm, dove start of christ's public ministry |
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| flagellation- piero della francesca 1465 figures are complacent- don't do anything bc christ is about to be beat |
fig. 21-25
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| resurrection- piero della francesca fresco, 1463 trees on right are alive, trees on left are dead (dead and came back to life) one of guards= self portrait of artist sleep= metaphor for death, blind to resurrection of christ- ignorance physical enhancement in body- power/stronger in resurrection christ rises majestically from the tomb right hand w banner and red cross- symbol of victory over dead halo- more realistic, not a circle Resurrection= city logo of San Sepocro, city's heart & identity guard w head back- first time foreshortening, walnut eyes jesus separated spiritually & physically from guards, on his own plane, presented frontally one guard has no legs, jesus has a 6 pack resurection is hard bc bible has no description of event, only what happened afterwards |
fig. 21-43
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| battista sforza and federico da montefeltro- piero della francesca ca. 1472- 1474, oil & tempera on wood tribute to wife's (battista) death |
fig. 21-49
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| palazzo ducale- andrea mantegna ceiling fresco, 1474 trompe l'oeil |
- trompe l'oeil- to fool the eye into seeing space that's not really there
fig. 21-50
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| corpus christi/lamentation of christ/dead christ- andrea mantegna tempera on canvas, 1500 foreshortening, more visual punch than showing from the side wounds in feet, hint of a halo |
the nude in art | video notes
adam & eve:
- nudity went from beauty to sin
greeks:
- glorified males bc militaristic society
christian religion:
- removed/censored nudity bc it was evil/work of the devil
hindu beliefs:
- love making= union of soul & divine, understanding of universe
giotto:
- still portrayed nude as sin
- last judgement painting: on the right- nude figures raped, violated, devoured in hell
botticelli:
- birth of venus: nudity is central bc it's about to be covered up by a cloak, "perfect beauty"
- ^manifesto of shifting status of nude- something to be celebrated, beautiful, natural
michelangelo:
- statue of david: biblical + classical values, reminiscent of classical greek
- ^symbol of male beauty, challenges viewer, proud of nakedness
- sistine chapel: some nudes were painted over bc too risque
- ^set a trend in which artists painted biblical figures in nude
titian:
- "venus": laying naked, hand covering genitals
- ^women as goddesses & sexual being
leonardo da vinci:
- italian renaissance= human wasn't so sinful, man, not god, was center of world
- vitruvian man: rendered nude more accurately, body fit in perfect circle & square shapes
- heralded a shift in way humanity saw itself
- man stripped down into natural state
ch. 20 | late medieval & early renaissance northern europe
late 14th, early 15th century
northern european secular aesthetics- notions of beauty:
- receding hairline
- hair horns= piety
- pale skin
- pear-shaped
- extended abdomen
- no discernible waistline
key artists:
- robert campin (master of flemalle)
- jan van eyck
- rogier van der weyden
- martin schongauer
- hugo van der goes
- albrecht durer
burgundy & flanders:
- flanders derived its wealth from wool & banking
- flanders controlled by the dukes of Burgundy
- flemish artists popularized the use of oil paints on wood panels
- jan van eyck, rogier van der weyden, & others established portraiture as an important art form in 15th century flanders
MATERIALS & TECHNIQUES: TEMPERA & OIL PAINTING
-tempera: consists of egg combined w a wet paste of ground pigment, dried quickly
-oil paints: powdered pigments mixed w linseed oil, dried slowly
-sfumato: smoky effect
-linen canvas became popular in late 16th century
fig. 20-4
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merode altarpiece- robert campin
1428, oil on wood
flanders
subject matter: annunciation
objects w symbolic significance (ex. lilies= mary)
red dress of mary= foreshadowing christ's death
hanging pot= mary is the vessel, ready to receive
hairline raised up
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jan van eyck:
- court painter to the duke of burgundy
- master technician of oil painting
- iconic precursor to fame & the artist (first to sign name)
- painter of religious altarpieces & secular portraits
-frames: conceptual & visual functions
-could integrate big paintings w surroundings
-could reinforce illusionistic nature of painting
-could distance view from "otherworldly" scenes by calling attention to separation of image & viewer
fig. 20-8
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| the man in a red turban- jan van eyck oil painting, 1433 first known western portrait where sitter looks directly at viewer |
fig. 20-5
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| ghent altarpiece (closed)- jan van eyck 1432, oil on wood |
fig. 20-6
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| ghent altarpiece (opened)- jan van eyck 1432 top left & right- adam & eve center bottom- christ= sacrificial lamb complementary colors-> excitement/interest foreground, mid., background |
fig. 20-7
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| giovanni arnolfini & his wife- jan van eyck 1434, oil painting on wood fur lining= wealth dog= loyalty & fidelity signature: "jan van eyck was here" |
fig. 20-8A
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| portrait of a lady- van der weyden ca. 1460 |
fig. 20-9 |
| deposition- rogier van der weyden 1435, oil on wood serpentine "S" shape body= snake= satan elongated body bright colors, dark shadows, more modern day clothing skull- memento mori |
-guilds controlled artistic production in flanders (same in italy)
-guilds secured adequate payments for artists' labor
-women had fewer opportunities than men to become artists (social & moral constraints)
-caterina van hemessen (flemish woman artist): received tutoring from father (professional artist)
france:
- the Limburg brothers expanded illusionistic capabilities of manuscript illumination in the Book of Hours
- french court art owes a debt to flemish painting in style & technique as well as in the integration of sacred & secular themes
holy roman empire:
- the late gothic style remained popular in 15th century germany for cards wood retables
- major german innovation: printing press--> books w woodcut illustrations
- earliest masters of engraving
PROBLEMS & SOLUTIONS: HOW TO ILLUSTRATE PRINTED BOOKS
-invention of moveable type in 15th century
-print: an artwork on paper, usually produced in multiple impressions
-edition: set of prints an artist creates from a single print
-woodcut solved problem of illustrating new printed books-> demise of manuscript illuminator
PRINTMAKING TECHNIQUES:
-relief: carving design into a surface, usually soft wood. images are created in reverse- subtractive
-intaglio: artist incises (cuts) lines on a metal plate (replaces wooden blocks)-> mass production
-tool: burin/stylus
-tool: burin/stylus
-etching: acid bath eats into exposed parts of plate
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| saint anthony tormented by demons- martin schongauer 1490, intaglio-engraving |
fig. I-9
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four horsemen of the apocalypse- albrecht durer
1498, relief- woodcut
mouth of hell opening up
souls being weighed
attention to detail
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Sunday, February 5, 2017
Thursday, February 2, 2017
intro notes | art history
art history:
-requires knowledge of the historical context of an artwork-central aim: determine original context of artworks
-can shed light on the peoples who made the art & on the times of their creation
-art historians study visual & tangible objects that humans make/build
-what unique set of circumstances gave rise to specific artworks for specific places?
-works can be:
- architecture
- sculpture
- pictorial acts (painting, drawing, printmaking, photography)
- craft arts (ceramics, metalwork, textiles, jewelry)
questions art historians ask:
-how old is it?- chronology: determine age to find historical context
- physical evidence: (types of materials) can indicate age
- terminus post quem: "point after which"- earliest date possible
- terminus ante quem: "point before which"- latest date possible
- documentary evidence: when a dated written document mentions the work
- internal evidence: identifiable person/clothing/hairstyle/etc.
- stylistic evidence: analysis of an artist's distinctive manner of producing an object
- period style: characteristics of a specific era/span of years w/in a distinct culture
- regional style: variations in style tied to geography
- provenance: place of origin
- personal style: distinctive manner of individual artists
-what is its subject?
- categories/themes in art:
history:
-historyhuman figure
-mythology
-allegory: literature w moral
-sacred: religion
living animal
portrait
landscape
still life: arranged objects
genre: scene of everyday life
vedute: urban view
- iconography: "writing of images," study of content & symbols in artwork
- attributes: figure identifiers, SUBJECTIVE
example:
St. Luke: ox
St. Matthew: winged man
St. Mark: lion
St. John: eagle
- personifications: abstract ideas codified in human form
- if an artwork isn't signed, art historians can attribute it to an artist
- base attributions on internal evidence
- connoisseur: expert in assigning artworks to "the hand" of one artist
- school: group of artists that work in the same style at the same time & place
- patrons: those who pay artists to make individual works/employed them on a continuing basis
- patrons often get to say how artists will represent the subject
- corona civica: civic crown
words artists used- formal analysis
-form & composition
- form: object's shape/structure
- composition: how artist composes/organizes forms in artwork
-material & technique
- medium
- artists shape materials (pigment, clay, gold, marble, etc.) w tools (pens, brushes, chisels, etc.)
- technique: processes that artists employ & distinctive, personal ways they handle materials
-proportion & scale:
- proportion: size relationships btwn parts of people, buildings, objects
- canons: systems of "correct"/"ideal" proportions
- modules: basic unit of measure
- hierarchy of scale: enlarging of elements considered most important
- diagonal
- vertical
- horizontal
- curvilinear
- serpentine
- mass: bulk/density/weight of matter in space
- volume: space that mass organizes/divides/encloses
- 2-D: depicted 3D space on 2D surface (illusionistic)
- 3-D: real space occupied by artwork
- perspective: create illusion of depth or space on 2D surface
linear: convergence of diagonal lines
foreshortening: representing something at angles to the picture plane, illusion that one part of subject is further away than other part
- atmospheric
- implied
- ambient (outside light on a cloudy/normal day)
- direct (spotlighting)
- ideal
- transcendent (refers to religious)
- chiaroscuro (articulation from light to dark)
- additive light: natural/sunlight
- subtractive light: reflected from pigments & objects
- hue: property giving a color its name
- value: variables in color
- tonality: degree of lightness or darkness
- intensity: purity of a color
- saturation: brightness or dullness
- primary triad (red, blue, yellow)
- secondary triad (orange, green, purple)
- tertiary triad
- cool palette (blue, green, purple)
- warm palette (yellow, red, orange)
- complementary (opposite colors on color wheel)
- true texture: tactile, can feel w touch
- represented texture: depicted as having texture
-pattern
-time
-motion
-time
-motion
- symmetry
- asymmetry
- relieved (approximate symmetry)
- radial
-emphasis: place/point of most importance
- focal point: bullseye spot in the composition
- rhythm: cadence or sequence of form in a composition
-variety: mixture of components to create visual dynamism
architectural drawings:
- plan: map of a floor/placement of a structure's masses
- section: a vertical plan
- lateral sections: slice across structure's width
- longitudinal sections: cut through building's length
- elevation drawing: head-on view of external/internal wall
- cutaway: combines in a single drawing an exterior w interior view of part of a building
carving & casting:
- carving: subtractive, reduction of original mass/block
- casting: fluid substance put inside a mold (hollow form for shaping)
- relief sculpture: subjects project from the background but still remain part of it
fig. I-9
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| The Four Horsemen of the Apocalypse- Albrecht Durer ca. 1498, woodcut representations of death, famine, war, pestilence |
fig. I-16
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| unfinished statue- Michelangelo Buonarroti 1527-1528, marble |
ch. 14 | late gothic art in italy
late medieval italy
fig. 14-1
territorial divisions:
-duchy-republic
-kingdom
- rome, orvieto, assisi, etc. = lots of religious artwork
- as you move away, more secular & diverse
altarpiece configurations:
-diptych
-triptych
-polyptych
-triptych
-polyptych
centers of urban development:
-milan
-florence
-siena
-venice
-rome
-urbino
-milan
-florence
-siena
-venice
-rome
-urbino
key artists:
-nicola pisano: sculptor of relief panels
-cimabue
-giotto: "first renaissance painter," pursued naturalistic approach
-duccio: master of sienese school of painting
-paolo veneziano
-simone martini
-ambrogio lorenzetti
-andrea pisano
-cimabue
-giotto: "first renaissance painter," pursued naturalistic approach
-duccio: master of sienese school of painting
-paolo veneziano
-simone martini
-ambrogio lorenzetti
-andrea pisano
- oculus= "eye of God"
_______________________________________________________________
duecento (13th century)
- diversity of style
- some artists worked in the maniera greca (italo-byzantine style), some in the mode of gothic france, & others in the newly revived classical naturalistic tradition
fig. 14-3 |
| annunciation, nativity, & adoration of the shephards- nicola pisano [nicholas the pisan] relief panel on baptistry pulpit/pisa/1259-1260 subject matter: annunciation (synoptic narrative) background info: illiteracy rates were high -> relief summarizes importance of mary |
ART & SOCIETY: ITALIAN ARTISTS' NAMES
-many individuals were known by their place of birth or adopted hometown
-format of names could also be changed whenever
________________________________________________________________
FLASHBACK: GRECO-ROMAN PROTOTYPES
FLASHBACK: BYZANTINE ERA PROTOTYPES
-refers to 4th century societal shift in Rome: Constantine declared Christianity as official religion
-ancient greek city of Byzantium becomes new capital of Christendom- renamed Constantinople
-style: figurative art- austere & conservative
byzantine characteristics:
RELIGION & MYTHOLOGY:
-italians resented the avignon papacy
-conflict btwn french & italians-> election of 2 popes (1378)-> Great Schism
-increase in monastic orders-> constant religious presence
-mendicants (begging friars): renounced worldly goods, preached to large urban crowds
-rivalry btwn franciscans & dominicans
-confraternities: organizations of laypersons who dedicated themselves to strict religious observance
the Black death (europe, circa 1347-51)
-origin: china -> trade ships at port of sicily -> flea infested rodents
-physical ramifications: inflammation of lymph nodes (groin & armpits), black pus, rapid contagion
-social effect: fear, ostracization, isolationism, irrational behavior
-psychological effect: introversion, "memento mori" (remember, you too will die)
-effect on faith/religion: intervention of omnipotent being- mass exodus, skepticism
-long-term effect: open to humanism
-stats: 60% loss of population
FLASHBACK: GRECO-ROMAN PROTOTYPES
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| kalos thanatos (a beautiful death?)/ sarcophagus/ kline (recline)/ meander motif/ register/ arcade |
- meander motif: represents new life
- register: horizontal band
FLASHBACK: BYZANTINE ERA PROTOTYPES
-refers to 4th century societal shift in Rome: Constantine declared Christianity as official religion
-ancient greek city of Byzantium becomes new capital of Christendom- renamed Constantinople
-style: figurative art- austere & conservative
byzantine characteristics:
- rigid body pose
- emphatic verticality (columnar body)
- multiple striations (registers)
- stoic stare
- almond eyes
- elongated nose/fingers
- colors: blue & gold (heavenly realm/unique mandate)
- flatness of forms
- body concealment
_________________________________________________________________________
RELIGION & MYTHOLOGY:
-italians resented the avignon papacy
-conflict btwn french & italians-> election of 2 popes (1378)-> Great Schism
-increase in monastic orders-> constant religious presence
-mendicants (begging friars): renounced worldly goods, preached to large urban crowds
-rivalry btwn franciscans & dominicans
-confraternities: organizations of laypersons who dedicated themselves to strict religious observance
fig. 14-5
 |
| Saint Francis Altarpiece- Bonaventura Berlinghieri Italy, 1235, tempera on wood Italo-Byzantine style/maniera greca highlights increasingly prominent role of religious orders (Great Schism) |
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| madonna enthroned w angels- cimabue altarpiece: 12x7 circa 1280 reliance on byzantine models gold embellishments enhance 3-dimensionality of drapery hierarchic scale throne: strength, balance, stability angels stacked vertically, mary at larger scale |
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Trecento (14th century)
-origin: china -> trade ships at port of sicily -> flea infested rodents
-physical ramifications: inflammation of lymph nodes (groin & armpits), black pus, rapid contagion
-social effect: fear, ostracization, isolationism, irrational behavior
-psychological effect: introversion, "memento mori" (remember, you too will die)
-effect on faith/religion: intervention of omnipotent being- mass exodus, skepticism
-long-term effect: open to humanism
-stats: 60% loss of population
- renaissance= rebirth of art & culture
- humanism: human values & interests distinct from religion's otherworldly values
- scholars & artists became increasingly concerned w the natural world
fig. 14-8
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| madonna enthroned- giotto de bondone 1305-1310 tempera & gold leaf on wood high altar ognissanti, florence revival of classical naturalism figures have more dimension angels overlapping-> more believable |
- stigmata: wounds of Christ
- iconography: study of symbols & representations of subject matter
Christian iconography:
- annunciation: white lilies, mary, gabriel
- nativity: baby Christ, mary, joseph
- pedagogy: teachings of Christ/parables
- miracles
- passion: crucifixion, Resurrection
- pentecost: after he comes back
MATERIALS & TECHNIQUES: FRESCO PAINTING
-mural painting technique
-buon fresco: (true fresco) apply permanent limeproof pigment, diluted in water, on fresh lime plaster
-one of the most durable painting techniques
-fresco secco: (dry fresco) painting on dried lime plaster, plaster wall does not absorb pigments
fig. 14-9
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| lamentation- giotto subject matter: scenes from the life of Christ date: 1305 medium: painting technique: buon fresco venue: arena chapel- family estate- padua, republic of venice patron: enrico scrovegni period: late gothic angels grieving, foreshortening dead tree- tree of knowledge (adam & eve) strong directional line (rock) pointing to Christ, separation of heaven & earth slit eyes & big chins |
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| virgin & child enthroned w saints- duccio sienese conservatism altarpiece, siena cathedral 1308-1311 tempera paint & gold leaf on wood panel formality & symmetry derived from byzantine painting but less rigidity & frontality, softened drapery, individualized faces |
THE PATRON'S VOICE:
-guilds: associates of master craftspeople, apprentices, & tradespeople
-monastic orders, confraternities, & the Vatican were major art patrons
-a patron's needs/wishes were crucial
ART & SOCIETY: ARTISTIC TRAINING IN RENAISSANCE ITALY
-aspiring artists started training at 7-15 yrs old
-fathers would negotiate an arrangement w a master artist
-boys served as apprentices
-after completing apprenticeships, artists entered appropriate guilds
-new guild-certified artists served as assistants to master artists until established reputations
fig. 14-14
SECULAR WORLD VIEW:
International Gothic:
- Gothic 13th & 14th cent.: images of city of God which they were privileged to build on earth
- byzantine characteristics w excessive decorative flourishes
-pointed arches
-lux nova
-rose windows
-tri foria
-light
-airy
-vertical
-soaring
-unified
-unbroken space
-exterior buttresses
-ribbed groin vaults, bright
-richly decorated w sculpture
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| madonna & child- paolo veneziano 1340, oil |
fig. 14-14
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| annunciation- simone martini 1333 over the top- gold leaf & big wings mary's body language= reacting dialogue in latin multiple strands of lilies |
SECULAR WORLD VIEW:
fig. 14-17
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| peaceful city (siena)- lorenzetti brothers frescoes in situ- palazzo publico, siena circa 1338 buildings are isometric prosperity/growth frescoes in situ |
fig. 14-18
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| peaceful country- lorenzetti brothers counterpart of peaceful city frescoes in situ- palazzo publico, siena |
fig. 14-19
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santa maria del fiore- arnolfo di cambio & others
the duomo (florence cathedral) & adjacent baptistry
first dome structure in thousands of years
marble veneer on facing, carries tuscan romanesque architectural tradition
mediterranean tile roofs
mixture of gothic & romanesque
campanile
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baptistry doors- andrea pisano
iconography: life of john the baptist (christian pedagogy)
medium: sculpture
technique: bronze w gold gild
culture: florence
period: late gothic/1330-1336
quatrefoil design- 4 points
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fig. 14-23
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palace of the doge
republic of venice
1340-1438
hybrid: late gothic (christian) & islamic
gothic arch & ogee arch (double-curving lines)
arcade
diamond motif (islam)
marble sheath (veneer)
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