Art history chap._19_a

Chapter 19 From Gothic to Renaissance: 14 th Century Italian Art Gardner’s Art Through the Ages,

Renaissance – 14 th Century Italian ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Reviving Classical Values ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 19-1 BONAVENTURA BERLINGHIERI, panel from the Saint Francis Altarpiece, San Francesco, Pescia, Italy, 1235. Tempera on wood, approx. 5’ x 3’ x 6”. Italo-Byzantine Style or Maniera Greca (Greek Style) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Panel from St. Francis Altarpiece

Artist’s Names in Renaissance Italy ,[object Object],[object Object],[object Object],[object Object]

Figure 19-2 NICOLA PISANO, pulpit of Pisa Cathedral baptistery, Pisa, Italy, 1259–1260. Marble, approx. 15’ high. Figure 19-3 NICOLA PISANO, The Annunciation and the Nativity, detail of Pisa baptistery pulpit, Pisa, Italy, 1259–1260. Marble relief, approx. 2’ 10” x 3’ 9”. 13 th Century – NICOLA PISANO – Classical Revival ,[object Object],[object Object],[object Object]

ART TO ORDER – Commissions and Patronage ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 19-4 GIOVANNI PISANO, The Annunciation and the Nativity, detail of the pulpit of Sant’Andrea, Pistoia, Italy, 1297–1301. Marble relief, approx. 2’ 10” x 3’ 4”. Giovanni Pisano (son of Nicola) – Pulpit of Sant’ Andrea ,[object Object]

Figure 19-6 CIMABUE, Madonna Enthroned with Angels and Prophets, ca. 1280–1290. Tempera on wood, 12’ 7” x 7’ 4”. Galleria degli Uffizi, Florence. Cenni di Pepo known as CIMABUE ,[object Object],[object Object],[object Object],Altarpiece

Figure 19-7 GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood, 10’ 8” x 6’ 8”. Galleria degli Uffizi, Florence. GIOTTO – Naturalistic approach based on observation ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 19-8 Interior of the Arena Chapel (Cappella Scrovegni), Padua, Italy, 1305–1306. GIOTTO – Muralist – Arena Chapel Frescoes ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

FRESCO PAINTING ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 19-9 GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305. Fresco, 6’ 6 3/4” x 6’ 3/4”. GIOTTO – Lamentation – Arena Chapel Panel ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Early Innovator of Perspective and Lighting – Creates Dramatic Narratives

Figure 19-10 DUCCIO DI BUONINSEGNA, Virgin and Child Enthroned with Saints, principal panel of the Maestà altarpiece, from the Siena Cathedral, Siena, Italy, 1308–1311. Tempera on wood, panel 7’ x 13’. Museo dell’Opera del Duomo, Siena. The Republic of Siena - DUCCIO ,[object Object],[object Object],[object Object],[object Object]

Figure 19-11 DUCCIO DI BUONINSEGNA, Betrayal of Jesus, detail from the back of the Maestà altarpiece, from the Siena Cathedral, Siena, Italy, 1309–1311. Tempera on wood, detail approx. 1’ 10 1/2” x 3’ 4”. Museo dell’Opera del Duomo, Siena. DUCCIO – Back of Maesta Altarpiece ,[object Object],[object Object],[object Object]

Figure 19-12 SIMONE MARTINI AND LIPPO MEMMI(?), Annunciation, 1333 (frame reconstructed in the nineteenth century). Tempera and gold leaf on wood, approx. 10’ 1” x 8’ 8 3/4”. Galleria degli Uffizi, Florence. The International Style – Simone Martini ,[object Object],[object Object],[object Object],[object Object],[object Object]

Mastering a Craft – Artistic Training in the Renaissance ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 19-13 PIETRO LORENZETTI, The Birth of the Virgin, from Altar of Saint Savinus, Siena Cathedral, Siena, Italy, 1342. Tempera on wood, approx. 6’ 1” x 5’ 11”. Museo dell’Opera del Duomo, Siena. The Lorenzetti Brothers – Pictorial Realism ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 19-14 Palazzo Pubblico, Siena, Italy, 1288–1309. Town Hall – Object of Civic Pride Palazzo Pubblico ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 19-15 Ambrogio Lorenzetti, Peaceful City, detail from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco. Ambrogio Lorenzetti ,[object Object],[object Object]

Figure 19-16 Ambrogio Lorenzetti, Peaceful Country, detail from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco. Ambrogio Lorenzetti ,[object Object],[object Object],[object Object]

Figure 19-17 ARNOLFO DI CAMBIO and others, Florence Cathedral (view from the south), Florence, Italy, begun 1296. The Republic of Florence ,[object Object],[object Object],[object Object],[object Object]

Figure 19-18 Nave of Florence Cathedral (view facing east), Florence, Italy, begun 1296. Interior – Florence Cathedral ,[object Object],[object Object],[object Object]

Figure 19-19 Nave of Santa Maria Novella, Florence, Italy, ca. 1246–1470. Santa Maria Novella ,[object Object],[object Object]

Figure 19-20 Orcagna, tabernacle, Or San Michele, Florence, Italy, begun 1349.Mosaic, gold, marble, lapis lazuli. Bernardo Daddi,Madonna and Child with Saints, painted panel insert, 1346–1347. Memorial to the Black Death – Tabernacle of the Virgin Mary ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Discussion Questions ,[object Object],[object Object],[object Object],Summation Humanism, direct observation, greater concern with the solidity of forms, and the interest in illusion (spatial) gained momentum in the 14 th century and became prominent in the following centuries

Art history chap._19_a

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Art history chap._19_a