ch. 14 | late gothic art in italy

google drive Art History AP notes

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

centers of urban development:
-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

• 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

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)

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

____________________________________________________________________

Trecento (14th century)

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

• 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

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

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

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

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

madonna & child- paolo veneziano
1340, oil

fig. 14-14

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

peaceful city (siena)- lorenzetti brothers
frescoes in situ- palazzo publico, siena
circa 1338
buildings are isometric
prosperity/growth
frescoes in situ

fig. 14-18

peaceful country- lorenzetti brothers
counterpart of peaceful city
frescoes in situ- palazzo publico, siena

fig. 14-19

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

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

fig. 14-23

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)