RENSSNC&BAROQUE ART ART HIS 0057
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4512 ART amp IDEOLOGY N THE RENAISSANCE amp BAROQUE INTRODUCTION 2 METHODOLOGY Term Renaissance rebirth in French Italians used term rinascita rebirth in Italian used in Italian Treatise c 1460 Rebirth of values of classical cultures Vasari lSt art historian Published 2 editions of lives of the artism 163911 century 1550 1568 How to interpret Renaissance Art Historically Who created the work artist 2 M is represented iconography subject matter 3 M is work made of medium technique 4 When was the work made datei 5 How is the subject treated presentation of subject or style 6 m paid for it List of art I uccio 2 Maesta Virgin as Queen of Heaven 3 Tempera on Pane 4 13081 31 l 5 Italian Gothic gold ground crowded space 6 Comune of i 7 Duomo cathedral 8 entire population 9 Altarpiece for worship I Donatello 2 David OT prophet 3 Bronze 4 Cent l440 guess date 5 Early renaissance 6 Medici Palace Court 7 Medici family 8 Medici peers 9 To glorify Medici amp to show their humanist credentials I Michelangelo 2 Creation of Adam 3 Fresco 4 I 511 High Renaissance Vault of Sistine Chapel Pope Julius 99 99quot Rembrandt Nightvvatch militia company on Parade Oil on canvas 1 6 43 Dutch Baroque Members of Capt Cocq s Militia Company Company s Hall Members of other Militia Companies To glorify Capt Cocq s Militia PWSP MFP N Vincel An gammy A Original location ofwork Audience Will change according to works location Altarpiece in church is addressed to Whole christiarn community King s portrait in palace FRE SCOES NEVER MOVE Frescoes are found inreligious sites Giotto Arena Chapel Sistine Chapel Vatican palace 16Lh c Frescoes in Pope s Chapel View toward altar Raphael Frescoes in Pope s library Stanza della segnatura Vatican pal IMG Pope s library Raphael Disputa Stanza della segnatura Christian ideology of Eucharist Frescoes at secular sites Ambrogio Lorenzettic Effects of Good government in the City and the Country 133839 Palazzo Pubblico Siena IMG Frescoes in Ruler s castle view Mantegna Camera Dipinta Mantegna Meeting scene IMG Church of the Frari Franciscan Venice Titian Virgin and Child with Saits Pesaro Altarpiece View Altarpiece seen from the side toward altar IMG LOCATION IS EVERYTHING o Donatello was in the court of the Medici palace a private site 9 audience was for Medici peers o Zocchi engraving cathedral 9 public site religious center 9 No separation of church and state 0 David ultimately placed outside of building of public site of state government Donotello 1286 71466 Zuvvone Habakkuk b 1427 1435 Marble Renaissance Art History Lecture 6 Map of Europe 0 Flanders o Burgundy Example Van Eyck Self portrat 1433 0 Speci city of detail of Flemish artists 0 Interest on exact recording of surface texture Characteristics of Flemish Paintings 0 Represent new way of picturing world 0 Space I No vanishing point perspective 0 Light I Used to reveal textured surfaces NOT to model figures New intimacy between holy figures and downs I Carefully orchestrated show of piety Oil Technique I Gives glossy effect Oil allows for greater precision of detail I Fyi 7 Flemish paintings used linseed oil as opposed to egg yolk tempera Development of Landscape as subject matter of painting I Italians was mostly the human form Flanders o No references to classical antiquity o Romans left no remains in Flanders o No frescoes note they are an exclusively Italian art form Van Eyck Altarpiece of the Lamb 1432 Cathedral of St Bavo in Ghent 0 Oil on panel Commissioned by Jodocus Vyd Mayer of Ghent 0 Analysis of Exterior 0 The Vyd couple are praying to St John in the bottom row I More lifelike than the sculptures I In vivid red colors as opposed to the whiteness overall I On same scale as holy people 0 Center top Annunciation I Dove above Virgin I Angel Gabriel and line of words to Virgin I Virgin s response is written upside down so that God can read it I Center 2 scenery panels 39239 Left side is a view of the city 39239 Right side is representative of trinity 0 Analysis of Interior 0 Top Set I Around image of God there s Virgin and St John I Musical angels and singing angels I AdamL and EveR were on the out opening 39239 Eve s protruding stomach common depiction childbirth 0 Bottom Set I Lamb of god worshipped by angels in the central axis 39239 Lamb is bleeding from 51 wound speared by St Longinus into a chalice 39239 Everyone s worshipping lamb of god quite literally I Baptismal font in front of the lamb I Pilgrim s led by holy hermits 0 Compare Adam amp Eve with Masaccio s work in Brancacci Chapel 0 Flanders I Want to reveal surface texture I High detail to landscape 0 Italy I Wanted basic structure 0 Panosfsky 0 Eye as microscope VS eye as telescope I Juxtaposition of the very near and very far I Both were equally legible Devotio Modema New Lay piety or religious practice 0 Laymen could join guilds called confratemities 0 Gospels translated into vernacular languages 0 People hungered for emotional reassurance and evidence of God s grace 0 Religious values induced more concrete and immediate experience 0 Paintings intended to reassure viewers of reality and truth of doctrines they represented 0 Lay piety stressed simplicity and sought to show the divine in a human frame of reference Emphasis on Intimacy between donors and Divine 0 Background 0 Master of Flemalle o Merode Altarpiece o Triptych 0 Oil on panel 0 Commissioned by Inghelbrechts in Mechelin o Portrayal of Virgin as a very rich upper class lady 0 With rich scarlet robes 0 Lots of expensive furniture I Note she s not sitting on the chair but the oor show of humility 0 Note that the donors coat of arms is on the window therefore it s their house like their appropriating the Annunciation 0 Joseph on the right side 0 He s making a mouse trap to catch the devil joseph married Mary to fool the Devil so that he doesn t get in way of incarnation of Jesus I Panofsky view of Joseph s tools and the cityscape detail Angel arrived 0 Left door open 0 Patrons are kneeling outside behind Angel in prayer I Enclosed garden behind them Virgin s virginity Look for the tiny cross above Gabriel 0 It s unorthodox o It implies that Christ was formed before being born through the Virgin I The point was that he was born human as opposed to something mystical Vase of lilies o 3 owers for trinity o Lilies for purity that represents the Virgin Candles 0 Well it was expensive and they could afford it Van Eyck Chancellor Rolin kneeling before the Virgin and Child 14331434 0 O 0 Background 0 Oil on panel 0 Notre Dame Autun o Hung to left of altar in Rolin s family chapel o Commissioned by powerful Chancellor Rolin He like the Inghelbrechts conjured up a vision of the Virgin 0 Same scale H Virgin amp Child 0 Virgin holding the Christ child I Baby holding glittering jewel orb 0 Virgin is seen as church I Her knees are the altar which is supporting ChristEucharist Light reveals texture 0 See angel reveals texture of crown Setting Tower room that is symbolic of virginity 0 Deep view of the city and grassy hills 0 Attention to details such as the wrinkles and texture of Rolin s face 0 Center part of painting you have detail to owers and 2 people in background Paintings visual aids for religion Dirk Bouts Last Supper 14631468 Side panels of Altar Resurrection and An 0 0 Background 0 Oil in panel 0 St Peter Louvain o Commissioned by confratemity I Lay confratemity of Holy Sacrament of St Peter Central Image o Altar of the Sacrament I Last supper Institution of Eucharist I Transubstantiation 0 Dimensions amp Figures 0 Christ s head is in the center of the panel I Positioned as though he were a priest Judas had sinister hand behind his back that s apparently how we can tell John the beloved disciple no beard Peter is old with a beard Confratemity people don t have beards I They were all in the background and onlooking 39239 They were all TO SCALE I A way to show God s presence in their lives 39239 Their vision of a holy event 39239 Made real by the artists skill in art Rogier van der Weyden Descent from the Cross 1435 0 Background 0 Oil on panel 0 Church of Notre Dame Louvain o Commissioned by Crossbowmen s Guild 0 Central panel of triptych o Christ 0 He s being brought down by the leaders of the guild I Light reveals the texture of their skin 0 His pose is echoed in the fainting Virgin s pose 0 Everyone is in close proximity in the picture 0 Detail in showing Adam s skull near Virgin s limp hand 0 Powerful emotions on the faces and body language 0 Mary Magdalene at feet of Christ crying tears which is hard to paint mind you 0 Virgin Mary is also crying tears o Weyden invented convention that represents tears o Idea that convincing physical reality will lead to spiritual intensity Jan van Eyck Portraits of Giovanni Arnolfini and his wife 1434 0 Background 0 Misidentified as the Namolfini Wedding 0 Oil on panel 0 Location was probably Anrolfrni s house in Bruges Belgium 0 Anomaly painting 0 2 full length independent double portrait I Normally you d just have a head portrait of the man and woman I They re not even royalty 0 Still Giovanni was a very wealthy silk merchant 0 Displays of wealth Renaissance 5 Alberti s Treatise on Painting 14351436 0 Alberti o Filippo Lippi o Domenico Veneziano o Fra Angelico o Mantegni Uccello o Donatello Self portrait Leon Battista Alberti bronze c 1436 Architect amp Humanisttheorist o Painter 0 Sculptor 0 Church in Mantua Santa Andrea 1470 Church ground plan Marchese Lodovico Gonzaga Unusually wide nave with no aisles Lots of mini chapels Large vaulted area 70ft stone vault with huge buttresses to hold it up Contrast with Santo Spirito in Florence 1446 I Thin nave with many aisles Important pilgrimage site I Commissioned by Marchese Lodovico Gonzaga of Mantua I They showed relic ofblood Church pulled down because they wanted to make it bigger I That could be why there were no columns or side aisles Exterior used 2 Roman types I Those of the Pantheon 39239 Triangular pediment for facade I Arche of titus arch 39239 Large central opening 39239 3 superimposed openings at the sides It has 1 bay of nave of interior surmounted by a triangular pediment Interior amp exterior dimensions are identical I Fusion of 2 styles of antiquity that had been incompatible Florentine Paintings and bronze relief 0 Perspective is a technique invented to give order to visual space 0 Convention that emerged to respond to the needs of the Florentine culture 0 Persisted till the advent of cubism in the 20Lh century BEFORE 1435 Masaccio Trinity with Perspective 1428 o Brunelleschi depends on Architecture to create space 0 Vanishing point in foremost plane o Exactly where Eucharist would have sat o Pyramid that holds the weight of the painting 0 Lost perspective panel 0 Brunelleschi s experiment in drawing Florence Baptistery to scale 1435 Alberti s perspective formula for compositions o A SPACE Perspective Schema o Creates space without architecture 0 Vanish point is on furthest plane 0 Steps I Vanishing point at level of man s head I Orthogonals go diagonally into space I Transversals are parallel to baseline 39239 As they get further from baseline it s farther I Isocephaly heads are always on the horizontal line 0 B RELIEVO Light amp Shade 0 Creates sculptural gures 0 C H ISTORIA Narrative 0 Figures reveal their psychological emotions through their physical movements in space BEFORE 1435 Brancacci Chapel Masaccio 14011428 Tribute Money 1425 Frescoe o Vanishing point in distance coincides with Christ s head on foremost plane 0 Elegant functional solution o 15111 c Voyages of exploration 0 Explored actual geographical space as if setting off for the vanishing point Loggia Bigallo VS Perspective schema Medieval view of city 0 Luciano Laurana attr View of an Ideal City panel c 1475 o uncentralized 0 Feeling you are inside a city 0 Miracle ofSt Eustance Pisanello c 1440 o Beholder is inside the art 0 Viewer is part of space Renaissance view ofa city 0 You are outside of the city 0 Nocturnal Hunt Paolo Uccello o Viewer is outside frame of the painting 0 Viewer is separate from the art Alta1pieces 0 Purpose Sits behind the table where Eucharisttransubstantiation occurs Filippo Lippi Annunciation View of Situ in Brunelleschi s Church of San Lorenzo Florence o Iconography amp incarnation 0 Notice the 2 extra angels Tempera on panel c 1440 Commissioned by the Martelli Family San Lorenzo Florence Five years after treatise was written 0 Space I Right side of the virgin I Diptych in a painting 0 Figures I Light and shadows fall from the left I Very sculpture like I Even the glass jar has some shadow 39239 Fyi the glass jar is a symbol of virginity o Narratives I Shape of the frame I Not quite there I Possibly the virgin is feeling intimidated or something strange idk I Compare with Brunelleschi 39239 Demanded square altarpieces in churches 0000 How to tell an effective visual story 0 Use variety of age people clothes surroundings poses 0 Use movements of bodies hair clothes leaves 0 Use dignity and restraint 0 Expression of emotions through movements 0 Let the movements of the body reveal the emotions of the heart I T Quattrocento art right there T Narrative VS Iconic Altarpieices o Domenico Veneziano St Lucy AP 1445 Virgin and Child with Saints c 1445 Tempera on panel High Altar Santa Lucia Florence Patron unknown 0 Spac D Lots of architecture in picture Virgin is within the architecture courtyard Each saint has an arch framing himher Since it s an altarpiece Domenico couldn t use isocephaly I Had to bring vanishing point down to the Virgin s knees I Needed a work that facilitates worship 0 Different style quattrocentotrecento o Differing treatment opf space and relief 0 Compare with Duccio s Maesta 13081311 0 Narratives Relief of the gures 0 St John the Baptist is pointing 0 Saint Lucy is looking 0 St is reading Etc 0 Shape of Frame 0 Domenico is reluctant to have a straight line I Has virgin sit in the courtyard I There are pointed arches in the picture I Kind of moved the triptych within the painting Fra Angelico Descent from the Cross late 1430s 0 Tempera on panel 0 Gothic frame is a bit earlier in time o Sacristy Santa Trinita 0 Florence Palla Strozzi 0 Space 0 No tiled oor but just kneeling on grass 0 No orthogonals to show where you are 0 Sense of movement towards center where Christ is on the cross Vanishing point is behind Christ s body 0 Figures 0 People are very sculptural o Christ s body is very lit 0 Iconography of Deposition 7 style trecento VS quattrocento 0 Compare with Duccio s Deposition 13081311 I Both artists reveal essence of content 0 Alberti Don t scatter everything around in random confusion so that your istoria appears to be in turmoil Mantegna Dead Christ Lamentation o Tempera on panel 0 Post 1466 0 Location Unknown probably Gonzaga Palace 0 Commission probably Lodovico Gonza a 0 Compare with Giotto s Lamentation 13051406 0 Foreshortened Christ I Still Christ s head isn t smaller than his feet as perspective would tell us I Lingering bits of old art style 0 Perpendicular to surface shown from feet up 0 Private Worshipper forced to confront wounds 0 Much more intimateclose to the worshipper o Alberti s treatise encouraged artists to change up the styles in art 0 Prior to this time you would never have a picture like Mantegna s ART amp IDEOLOGY IN THE RENAISSANCE amp BAROQUE Rheinish Blessing Christ as Salvator Mandi holds globe instead of traditional crystal orb European art is mainly gurative Art is propaganda for church or state Berlinghieri ST Francis altarpiece 1235 Rigaud portrait Louis XIV of France 1701 Christianity was prevailing ideology of period Medieval MS God as architect Earth was created by God just for man Role of Religious art in Renaissance life St Francis kneeling before the cross l4Lh cent Sassetta St Thomas Aquinas in prayer 153911 cent Founder39 Franciscan Order Great Dominican theologian MAIN TENENTS OF CHRISTIAN THEOLOGY A Trinity Christian god is triune or tripartite God the father God the sun and God the Holy Spirit Durer Adoration of the trinity in Heaven Altarpiece Germany 15Lh c B Eucharist Central act of worship in church Consecration of the Host Transubstantiation of Host winewafer into body and blood of Christ SAINTS everyone has a patron or name saint who led pious lives and communicated with the almighty and who intercede with the divine on behalf of humans Saints perform miracles Worshippers venerated the relics What was meaning of life Death was ever present Life on earth very short Hence cultural preoccupation with next world which lasts for eternity Purpose of this life is to ensure salvation in next everyone prays We lack crucial element of original audience Need to reintegrate the audience into the art Renai 4 The New Style in the Early Quattrocento Early Renaissance Vasari s Second Age The Renaissance art started with Brunelleschi architecture Followed by Donatello scultpire Followed then my painting 1 Architecture Facade a Florence i Where rise of capitalism tok place ii Center of European nance and banking iii City administered by small wealthy oligarchy Brunelleschi s Foundling Hospital amp Santo Spirito Facade of Foundling Hospital degli Innocenti 1419 0 Compare with Roman architecture I Rounded Arches 0 Arch of Constantine o Coliseum I Columns sustaining triangular pediment o Pantheon 0 Has glazed terracotta gures of children above the columns 0 Contrast with Gothic stylebuilding I See Simone Martini s Annunciation high points as opposed to roundness 4L Proportions are very important 0 All sides are equal 0 Each bay is cube of space topped by a hemisphere like the Pantheon 4amp Used 2 simple modules 0 Circle square Santo Spirito 4v Rounded arches as opposed to pointed arches Columns as opposed to piers Ht Flat coffered roof as opposed to vaulting 4 Ground plan 0 Used 2 models square circle Style 4s Always used Corinthian capitals and columns 0 Derived from Cesariano The 5 Orders 1521 I Doric ionic and Corinthian capital I Corinthian decorative tops from acanthus leaves 0 A1 4L Borrowed vocabulary of ancient building in Rome Round arches columns capitals Proportions of ancient buildings Clarity of organization Resulting in austere simplicity modernist who eliminated gothic ornament Reduced elements to basic materials 000000 4 Fillippo Brunelleschi 13771446 0 Death Mask Sculpture by Donatello 1 Florence a Orsanmichele amp Medici Palazzo b 32 over lifesize gures in center of Florence by 1425 St Mark Marble 14111413 4 Patrons were the 21 major guilds 3 Monumental sculptures 4L Sculpture within wall niches 0 Therefore backs where undeveloped 0 Each niche contained a patron saint of the guild 4 Corporate Commision o Sculpture was of l of 4 evangelists I Patron saint of linaiuoli guild of linen drapers 4 Roman development of contrapposto o Pose were leg placement opposite I Weight on one leg and the other leg doesn t have weight put on it o Conducted a relaxed feeling 44 Utilizing antique prototypes 0 An idealized but realistic sculpture The view as you would have seen it 0 You head is at bottom of niche 0 Basically you re looking up 61139 sotto in su Donatello David c 1440 bronze la Medici private commission 0 1 free standing life sized nude in bronze o Depicted David right after beheading of Goliath 0 Located in court of Medici palace 4 Also has contrapposto pose 0 Looking down 4 Bronze Most expensive medium Evokes classical sculpture Sensuous material 00 Gold gilding on hair and laurel of hat 0000 Painting on Panel Altarpiece Masaccio Pisa Virgin and Child Santa Marai del Carmine 1426 4L Pisan client individual patron o Polyptych o Dismembered as they re in different museums 4 Compare with Duccio s Maesta 13081311 0 Masaccio s Roman gravitas VS Duccio s smiling elegance i Style 0 Light is coming from one source 0 Mary is stem austere and holding grapes Fresco Painting Florence o SM Novella o SM Del Carmine Frescoed Fictive Chapel Masaccio Trinit with Virgin St John and 2 donors 4 In Santa Maria Novella Dominican Us 1428 7 commisioned by Lenzi family 0 The family was buried under this chapel 4L A break from style where important people were bigger 0 Donors were same size as holy gures I Different relationship to the divine 4amp Architecture 0 Detail is similar to the Innocenti s Facade o 2 toned Brunelleschian system in which structural elemereal cants are different color from weigh bearing wall Frescoed Ht Commissioned by Scrovegni family 4 Scene of Peter Tribute money 0 Spatial organization 0 Figure style 0 Single light source In uence of Classical Sculpture 139 Expulsion of Adam and Eve Venus Pudica o lst shadows of the Renaissance 0 Weight bearing people in art Masaccio s skill in conveying emotion of overwhelming loss Italy Siena amp Padua Vasari s 3 Ages 1 14111 century trecento Late Medieval Siena Duomo cathedral 0 Cathedral facade 128499 0 Interior of Siena cathedral importance of art styles pictorial language s uniqueness therefore no comparison 0 Re ective of Christian ideology 0 First 12 of 14Lh c were prosperous with political prosperity 0 Florence Siena centers offinance ie iteXtiles o Duccio s Maesta Majesty 0 Virgin and child with Saints central image front panel I Surrounded by angels and saints on both sides 0 Note the saints are speci cally Sienese 0 St John the Baptist I Symmetry I Scale ofthe holy peoples 0 Whole thing is 5 meters squared 0 Double sided High altarpiece very rare if not only one at the time I Normal people would not have been able to see the back I Thus largest scenes Virgin Mary faces the audience 0 Tempera on panel 0 C 130811 I 1311 7 a public holiday was declared on the day the altarpiece was carried through town to il Duomo 0 Everyone came out to celebrate it out of reverence for so noble a picture as this 14th c account of the installation of Duccio s Maesta 7 primary source I Siena Campo o Palazzo o Zocchi view ofpeople Piazza Duomo 18Lh c o In duomo of Siena o Commissioned by City State of Siena 0 Notice I Small scenes under primary central image of virgin and child front I Small collection of scenes from the Passion Week center back I Scenes of the virgin mother bottom back I Angels top back 0 Gothic pinnacles and frames of gilded tiny gothic cathedral 0 Analysis of Passion Scenes 0 Dominant central scene of cruci xion I Dominant colors gold amp red blood symbolism I Very crowded o 2 waves ofpeople parted by cross I Virgin amp John on left I Lots of soldiers and high priests chaotic on right 0 Deposition scene from Maesta I Pulling nail from feet I Taking him from the cross I Identical to art of Oblate Master Cruci xion det Deposition I Skillful reimaging recreation of deposition scene in art 0 Pilate Washing Hands scene from Maesta I Non naturalism was possible 0 Notice the column and placement of hands9 it doesn t happen 0 Sneaky I Duccio s signature in Latin at base of Virgin s pedestal I Holy Mother of God be thou the cause ofpeace for Siena and because he painted thee thus of life for Duccio 0 Peace for the State 0 Eternal life for the artist 0 Intensification of popular religion around 1300 I Epitomized by J39 order Fr 39 D o Emphasis in art on Christ the baby suffering as opposed to teacher I Brought Virgin into the story more often I Siena called itself the city of the Virgin she was their chief magistrate 0 Note light was coming from ickering candles visual experience o o Duccio s skill in drawing from other images 0 Madonna degli occhi grossi 1260s I Almost abstract construction of them 0 Master of San Martino lateral predella scenes I Similar to Duccio s but not as gentle on the eyes put simply 0 Key in on ground plan of cathedral 0 White and black marble revetment I No frescoes are possible on the rock walls I Note most cathedrals churches in Italy had frescoes of Jesus or Mary 0 Very expensive Simone Martini Annunciation o Artistic breakdown o 1333 o Tempera on panel 0 Side alter in Duomo Siena o Commissioned by state 0 Angel Gabriel arrives and forces Mary to recoil from him 0 Sense of urgency with depiction of wind 0 White lilies purity Giotto Scenes from the Lives of the Virgin and Christ frescoes 0 Private commission in Padua family chapel Enrico Scrovegni 13031309 Arena Chapel 3 superimposed rows of 38 scenes Collection of scenes are 0 Life of Joachim 0 Life of the Virgin I Located on the arch 0 Life of Christ 0 Towards the entrance 9 scenes of the Last Judgement o Christ beckons the saved with right I Self amp family of commissioner on saed I Heaven side there hung pictures of 7 virtues o ie charity trampling moneybags o Condemns wicked on left hand Italian 9 a sinistra 9 sinister I Condemned like Judas hangs from money bag strings in Hell I Hell side there hung pictures of 7 sins o Flames of hatred under envy opposite of charity 0 There s a mini Arena Chapel portrait o Heaven Hell physical placement opposition I Justice enthroned queen amp Injustice robber baron I Little scenes 0 Justice hunting dancing 0 Injustice murder robbery pillage rape 0 There is a scene of the Pact of Judas o Betrayed with a kiss 9 30 silver pieces 0 Hung opposite the side of hel 0 Interestingly it was taken out of sequence to be extra visible I The immortal sin of usury Think Shakespeare s Merchant of Venice I Strongly condemned by the church 0 Enrico s father practiced usury I So strong was his practice Dante even added him to Divine Comedy in 7th Circles of Hell I Enrico wanted to atone for his father s immortal sin of usury 0 View of North Wall Heaven s side 0 Life of Christ scenes I the Lamentation 0 St John 0 Mary somber o Barren tree 0 2 people turned back to audienceviewer 0 Style developed by Giotto grief so great Frantic angels ying around chaotically Figures are very large heavy and sculptural bulky 0 As opposed to Duccio who s depictions seem light I Kiss of Judas Judas has enveloped Christ in his yellow robe High priest s servant with Peter cutting off ear Raining down of spears Compare with 1300 Jacopo Torriti Kiss of Judas 0 Important people in front with like Peter in the back At this time Giotto was already recognized like Duccio by his contemporaries 0 People wanted a vivid evocation of the stories Giotto s Style 0 Space narrow ledge Figures earthbound amp sculptural Who interacts emotionally 9 convey emotional involvement Concentrates on essentials 9 no unnecessary detail Overall unity of dramatic action 0 O O 0 commission of City State of Siena Ambrogio Lorenzetti Allegory of Good Government Frescoes 1338 In Sala de Nove Room of 9 9 where the 9 administrators were heart of politics 0 In Palazzo Pubblico Political iconography Effects of good gov t on city and then on country Analysis of artwork o CSCV I Communi scenari cittato della virgine 0 Good gov t figurehead surrounded by virtues o Personifrcations of peace justice temperance Figure of Concordia on the left side representatie of another type of virtue wisdom o Rope goes around and leads back to the common good figurehead Love justice you who rule the Earth base text 0 Citizens of Siena are beckoned to put commonwealth over private interests Figure 0 fPaX Peace 0 She holds an olive branch 0 Under pillow 9 hiding lots of armor prevention of war View of the City 0 City street 0 School shop people building more houses marketplace 0 Central ladies that are physically larger in the picture I Dancing I Representative of law and order 0 Idealization of ideal life in town View of country in Effects of Good Government 0 Peasants labor in fields 0 Nobles are leaving to go hunting 0 Above images of and angel Securitas Security I Everyone may walk without fear under the rule of law