Early Renaissance Art

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Back 1

N: Madonna in Majesty.
D:1280 CE.
P/S: Early Renaissance.
A: Cimabue.
Pa: Unknown.
OL: Florence, Italy.
M/T: Tempura on wood panel.
F: Icon art of Mary.
C: Spatial depth with Mary's throne creating perspective.
DT: La "Maestra" with angels and Jesus's Kingdom. Similar to Byzantine style of painting.
Me: A pioneer in naturalism; painted in lifelike proportions and shading. An influential but forgotten early renaissance painting.

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Back 2

N: Lamentation of Christ.
D: 1305 CE.
P/S: Early Renaissance.
A: Giotto.
Pa: Scrovegni.
OL: Florence, Italy.
M/T: Fresco.
F: Narrative of the life of Christ, teach the illiterate about Christ.
C: In perspective, scene of death on earth and heaven. Bi level depiction of heaven and earth, wall is dividing line. Various emotions of anguish depicts by angels, as people would. The figure in green in us the viewer.
DT: Scene of sadness, Christ down from the cross. Angels in the sky hovering around the sight. Figures surrounding Jesus in showing peace and grief.
Me: Allegory: obvious subject but purpose of the art to depict a specific idea.

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Back 3

N: Peace of City.
D: 1338 CE.
P/S: Early Renaissance.
A: Lorenzetti.
Pa: Council of 9.
OL: Siena, Italy.
F: 6 fresco panel narrative of political life on walls of city hall in Siena. Frescos show life under tyranny and a just government.
C: Council of 9 illustrating prosperity. Narrative is titled Effects of Good Government in City and Country. The frescos are commissioned to make a statement of what a just government should aspire to be. Peace and harmony are the results of effective government.
DT: Urban life in city state of Siena. People in harmony and peace. Perspective of Palaxzzo Pubblico de Siena.
Me: Renaissance art usually religious but this was of secular life and its ideals of personal and economic prosperity.

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Back 4

N: Tres Riches Heures du Duc de Berry.
D: 1413 CE.
P/S: Early Renaissance.
A: Limbourg Brothers.
Pa: Duke of Berry.
OL: Paris, France.
M/T: Vellum.
F: Personal and portable religious sanctuary.
C: A book of hour (prayers) and a calendar. Religious function but the books of hour became status symbols - owners showed their wealth, deep religious values and literacy. They became "a must have" for the upper class (materialistic).
DT: Richly decorated 206 illuminated manuscript. Decor is Gothic international figures not realistic but art is detailed and luxurious. Duc de Berry, the patron, is depicted in the manuscript, showing him, his personality and lifestyle.
Me: Gothic international, Northern Europe early Renaissance art.

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Back 5

N: Giovanni Arnolfini and His Bride.
D: 1434 CE.
P/S: Early Renaissance.
A: Jan Van Eyck.
Pa: Giovanni Arnolfini.
OL: Bruges, Belgium.
M/T: Oil on oak panel.
F: Public record/contract of a marriage.
C: Window light illuminates the room to create realism and perspective. Painting is full of symbolism of marriage. Use of oil and glaze create intense colors and tone. Every aspect of scene depicts wealth and social status.
DT: A double portrait of the newly weds. The patron and his bride are the subjects. Frontal view and rear view from the convex mirror. Signed his name on the wall. 3 to 4 people can be seen in mirror looking in on the ceremony.
Me: A masterpiece of Northern Europe Renaissance because of its detailed oil painting and its techniques.

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Back 6

N: Madonna Enthroned.
D: 1310 CE.

P/S: Early Renaissance.
A: Giotto.
Pa: Unknown.
OL: Florence, Italy.
M/T: Tempura on wood panel.
F: Icon art of Mary, showcase at top the altar.
C: Giotto the first to create 3D figures. La Maestra is more natural and "healthy". Chiaroscuro creates realistic and fabric folds and body parts. Painting has a "smokey" look, much like Da Vinci used.
DT: La "Maestra". Hierarchy of scale. Symmetric and spatial depth.
Me: Great Early Renaissance artist that influenced wedtern civilazation art painting.

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Back 7

N: Ghent Altarpiece.
D: 1432 CE.
P/S: Early Renaissance.
A: Jan and Hubert Van Eyck.
Pa: Joducus Vyd.
OL: Ghent, Belgium.
M/T: Oil on wood panels.
F: An altartpiece.
C: Detailed realism and naturalism. The lamb on the altar symbolizes the Eucharist. Great detailed in background scenery. Sun light illuminated all panels to create divinity, realism, and perspective.
DT: A portable polyptych alterpiece (12 panels). Jodocus and wife, Adam and Eve are depicted on the exterior panels. Exterior center "statues" are painted in "grisaille" (painted in gray). A Deesis in the interior top center 3 panels. The Lamb of God in bottom center panel.
Me: A masterpiece of Northern Europe Renaissance/modern world treasure because of its detailed oil painting and techniques.