Italy 1200 to 1400 part 2
Italy 1200 to 1400 part 2 1306-001
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This 2 page Class Notes was uploaded by Diana Laura Gerardo on Tuesday February 9, 2016. The Class Notes belongs to 1306-001 at University of Texas at El Paso taught by Anne Perry in Winter 2016. Since its upload, it has received 29 views. For similar materials see Art History II in Art at University of Texas at El Paso.
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Date Created: 02/09/16
January 27, 2016 Page 1 Italy 1200 – 1400 (Italian Gothic/PreRenaissance) PART 2 I. Giotto di Bondone, Lamentation, Capella Scrovegni, Padua, Italy, c. 1305, Fresco. a. Pietà means “pity”. The Pietà, however, is the image of the Virgin Mary holding the dead body of Jesus Christ. b. Lamentation The close relatives and friends of Jesus grieving over the body of Christ. c. Directional line points out the most important part of the image. Here, the hill/wall and the bodies of the angels and the friends and family of Christ are pointing, bowing, or gesturing in some other way at the Pietà. d. Focal point the specific place or moment where the artist wants you to look. Here, it is the Pietà. e. This work is much more naturalistic. f. This work is very important because it displays two very important scenes after Christ’s death: The Lamentation and the Pietà. II. Siena, Italy a. Cathedral of Siena i. Known for its colored marble. b. Duccio Di Buoninsegna, Virgin and Child Enthroned With Saints, Maestà Altarpiece. Proposed reconstruction and Central panel, Siena Cathedral, Siena, Italy, 13081311, tempera and gold leaf on wood. i. Maestà means majesty. ii. Has angels, saints, and martyrs. 1. St. Catherine, for example. She was tortured so they could get her to renounce her faith but she didn’t so they killed her. iii. Polyptych an altarpiece composed of more than 3 sections. 1. Pinnacles, Central Panel, Predella (small panels). 2. Proposed reconstruction of the altar piece. iv. Predella the narrow ledge on which an altarpiece rests on an altar. January 27, 2016 Page 2 c. Simone Martini and Lippo Memmi, Annunciation, 1333, Tempera and gold leaf on wood. i. The artist asks the Virgin to protect and bring peace to himself. He signs his own piece. Golden leaves on a wooden panel. ii. Has elegant shapes, radiant color, flowing line, and weightless figures in golden space less settings. iii. Virgin Mary has heraldic colors as the Queen of Heaven. iv. Memmi painted the two lateral saints which have greater solidity and lack the linear elegance of Martini’s central pair. d. Campo and the Palazzo Pubblico, Siena, Italy, 1288 – 1309. i. Palazzo Pubblico a concave façade and gigantic tower which served as a defensive lookout over the countryside and a symbol of the citystate’s power. e. Ambrogio Lorenzetti, Peaceful City and Peaceful Country from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338 – 1339, fresco. i. Panorama of Medieval pastel architecture. ii. Sala della Pace Room of Peace, found in Siena’s city hall. iii. The leaders of the Sienese government commissioned this fresco for the reformation of Siena. iv. In “Peaceful City…”, it is a panoramic view of Siena and gave knowledge of perspective. v. Peaceful Country presents a bird’s eye view of the Tuscan countryside and represents one of the first appearances of landscape in Western art since antiquity.
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