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Chapter 14: Late Medieval Italy

by: Reyanda Frederick

Chapter 14: Late Medieval Italy AH 1750

Marketplace > Georgia State University > Art & Design > AH 1750 > Chapter 14 Late Medieval Italy
Reyanda Frederick
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About this Document

These notes cover Chapter 14: Late Medieval Italy.
Survey of Art II
Susan E. Richmond
Class Notes
Art History, Art, history, Italy




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This 3 page Class Notes was uploaded by Reyanda Frederick on Sunday August 28, 2016. The Class Notes belongs to AH 1750 at Georgia State University taught by Susan E. Richmond in Fall 2016. Since its upload, it has received 74 views. For similar materials see Survey of Art II in Art & Design at Georgia State University.

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Date Created: 08/28/16
Key Points Details Proto-Renaissance Proto-Renaissance - Beginning of rebirth of Greco-Roman naturalism; renewed interest in art of Ancient Greece and  Naturalism  1200-1300 Rome.  1300-1400  Humanism - Importance or focus of human achievement; NEVER more important than religion.  Artistic Training - Trained & joined an artistic guild (i.e. union)  Types of art  Sculptures  Paintings *90% of art in this period was religious; most patrons asked for Republic of Florence art to adorn their private chapels or churches. Artwork was NOT  Berlinghieri done w/ out patronage. Patronage determined types of art and  Giotto material used.*  Foreshortening REPUBLIC OF FLORENCE  Berlinghieri  Saint Francis Altarpiece (FIG. 14-5)  Tempura (type of paint) on wood (commonly used in era)  Saint Francis' attributes: brown robe, wounds of Christ  Gold leaf of painting creates other worldly effect  Painted in Italo-Byzantine style  Characteristics of style: flatness (not 3-D); distortion/proportional; not concerned w/ naturalism  Giotto  Madonna Enthroned (FIG. 14-8)  The Virgin Mary is shown larger than the rest of the ppl in the painting (shows her importance)  More naturalism - facial features; 3-D body form (legs bent while seated on throne); Christ depicted as a child (instead of the usual little man) *Humanism was artists' way of making art more real and of this world.*  Arena Chapel frescos (FIG. 14-1) Republic of Sienna  Painting was done on Buon (true) Fresco: painting  Duccio done on wet plaster  Martini  Lamentation (FIG. 14-9) - Scene in chapel  Ambrogio  Greater sense of space (i.e. hill in the Lorenzetti background)  Figures' backs are turned (informal); makes you feel a part of the painting  Good sense of volume (3-D) using highlights and shadows (shading) Chapter 14: Late Medieval Italy - Naturalism Reborn attributed political victory to her  Virgin Mary is large in composition (to show importance)  Still used gold leaf as a sign of value  Duccio payed close attention to detail of textiles; shows importance of textile trade during that time  Ppl of Sienna were very fond of Duccio; he signed chapel work (not common for artist during this time) *Cultural shift from craftsperson to revered artist*  Martini  Annunciation (Altarpiece) (FIG. 14-14)  International style (across Europe)  Still influenced by patronage (use of gold leaf continues to create feeling of other worldliness)  Martini painted words of angel into painting  Mary's response looks shocked, yet humbled  Martini painted Mary as a queen on a throne awaiting a message from a courier (angel)  Ambrogio Lorenzetti  Allegory of Good & Bad Gov't (FIG. 14-16 A)  Displayed in town hall  One of the only non-religious pieces of this time  Bad gov't represented as devil  Good gov't represented as lady justice (scale)  Peaceful City (FIG. 14-17)  Displays effects of good gov't; signs of prosperity (commerce, dancing, trade, architecture, thriving city)  Insight to lives of ppl of Sienna during this time  Peaceful Country (FIG. 14-18)


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