1200-1400 Italy Renaissance Late Byzantine

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NICOLA PISANOAnnunciation, Nativity, & Adoration of the Shepherdsrelief panel on the baptistery pulpit, Pisa, Italy1259-1260Marble-Classical sculpture inspired the face types, beards, coiffures, and draperies, as well as the bulk and weight of Nicola's figures -begins w/ Angel Gabriel telling Mary she will bare a child, angels wrap Christ, Joseph sitting and watching -Several layers of relief-high releif in the foreground, low relief in the background-adds background symbolism, to show they're outdoors -Late Gothic

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CIMABUEMadonna Enthroned with Angels and Prophetsfrom Florence, Italytempera on wood1280-90-Cimabue was 1 of the 1st artists to go from the Italo-Byzantine style to naturalistic style -Cimabue: a pre-rennaissance artist b/c of his pattern book like technique -his painting is composed of lines -tries curving his piece towards us -Christ & Mary have same expression -gold background (Byzantine style)-gold embellishment on robe (enhance 3D style)-illogical body structure-deeper into space (the throne shows depth / overlapping angles agree with size of throne) -Late Gothic

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GIOTTOMadonna EnthronedFlorence, Italytempera on wood1310-Giotto displayed the Byzantine style in Italian printing and revived the naturalism of classical art -uses Gothic pointed arch for the throne -more weight under robes-more logical body structure-sense of space-figure that has substance, dimensionality, and bulk (characteristics suppressed by I-B style because spiritual immateriality) realistic proportions round baby face and rolls of baby fat (accurate)figures have a sense of depth [achieved by modeling (dark blues and light blue used in her garment to show wrinkles), stacking]

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DUCCIOVirgin and Child Enthroned with Saints (Maesta)Siena, Italy1308-11-Duccio derived the formality and symmetry of composition from byzantine tradition, but relaxed the rigidity and frontality of the figures, softened the drapery, and individualized the faces-instead of showing the throne going straight back, he angles it slightly -pictures Virgin as queen -known for his use of line and color -gold color draws eyes to altar piece in large church -Late Gothic -Italian Byzantine -Maesta- Virgin Mary in majesty. Mary's Life in front, Christ in back. Polyptic- many panels -For victory against Florentine and believed Mary helped them- focus of religious life of the republic.

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GIOTTOLamentation from Arena Chapel, Padua, ItalyFresco1305-06-In this fresco painted in many sections, Giotto used the diagonal slope of the rocky landscape to direct the viewer's attention toward the head of the figure of the dead Christ -Fresco Painting-foreshortening angels-1st painting without people with faces-you are part of the scene1. the nonfaced people create sense of space2. more natural placement-emotive (emotional)-individual expression / gestures / clothing-flesh / outside!-humanistic -tree is symbolic of the resurrection -Late Gothic

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GIOTTO interior of the Arena Chapel (Cappella Scrovegni)Padua, ItalyFresco1305-06-Giotto, widely regarded as the first Renaissance painter, was a pioneer in pursuing a naturalistic approach to representation based on observation. The frescoes in the Arena Chapel show his art at its finest-Giotto more interested in the Sculptural reality of figures -fresco had to be painted in sections (giornata), some lines are visible from thiscommissioned patron: Scrovegni (merchant)

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SIMONE MARTINI and LIPPO MEMMIAnnunciation altarpieceSiena, Italy1333. Tempera on panel-a pupil of Duccio. Style: International Gothic Style/ Sienese Description: Elegant shapes, elongated, radiant color, flowing line, weightless figures in golden, spaceless settings-only the middle section is completed by martini-The frame is able to use 3 sections for middle to make it more aesthetically pleasing-Angel Gabriel wears a tarpen to symbolize Sienna's importance in the fabric trade-blonde hair and blue eyes to appeal to the French.

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ARNOLFO DI CAMBIO, GIOTTO, BRUNELLESCHICathedral, Florencebegun 1296-this basilican church with its marble-encrusted walls carries on the Tuscan Romanesque architectural tradition, linking Florence Cathedral more closely to Early Christian Italy than to contemporaneous France-has fewer but wider and deeper nave aisle bays than do northern Gothic cathedrals. The result is an interior of unmatched spaciousness

-Renaissance

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Chiaroscuro

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In drawing or painting, the treatment and or use of light and dark, especially the gradations of light

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Humanism

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In the Renaissance, an emphasis on education and on expanding knowledge (especially of classical antiquity), the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moral duty

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International style

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A style of 14th and 15th century painting begun by Simone Martini, who adapted the French Gothic manner to Sienese art fused with influences from the north. This style appealed to the aristocracy because of its brilliant color, lavish costume, intricate ornament, and themes involving splendid processions of knights and ladies. Also a style of 20th century architecture associated with Le Corbusier, whose elegance of design came to influence the look of modern office buildings and skyscrapers

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Ambrogio Lorenzetti. Effects of Good and Bad Government in the City and Country, Palazzo Pubblico. fresco. 13th Century Italy.

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Giotto

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Early 14th Centuryregarded as one of the first Renaissance painterstarted the concept that looking at a painting should be like looking out of a windowrevived naturalistic expression (shaping objects to make them look lifelike)

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buon fresco

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(true fresco) pigment sinks into the plaster

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Robert Campin (Flemish), Mérode Altarpiece (open), oil on wood, International Style, ca. 1425-1428

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Life of Jesus, Duccio di Buoninsegna, panels form the back of the Maestà altarpiece from Siena Cathedral, Siena, Italy, 1308-1311, tempera and gold leaf on woodPeriod: Late Medieval Italy 1200-1400

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Duccio Di Buoninsegna, Betrayal of Jesus, detail from the back of the Maestà altarpiece, from Siena Cathedral, Siena, Italy, 1309-1311. Tempera and gold leaf on wood, 1' 10 1/2" X 3' 4". Museo dell'Opera del Duomo, Siena.Period: Late Medieval Italy 1200-1400Description:Religious drama with variety of emotionsHumanization of religious subject matter

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Lorenzo Maitani, west façade of Orvieto Cathedral, Oriveto, Italy, begun 1310.Period: Late Medieval Italy 1200-1400Description:Pointed gables over doorway, rose window, large pinnacles (french architecture) . Façade is Gothic overlay, altar piece on a gigantic scale. only meant to be seen from front when you enter