Transcript 幻灯片 1 - zjicm.edu.cn

FROM GOTHIC TO
RENAISSANCE
Renaissance
The Renaissance is marked by a new sense of the
individual, what came to be known as “humanism.” Visually, it
produced many radical breaks from medieval representations
of the world and people. As focus shifted from God to
humankind, interest grew in classical models, in which
humans were seen as the measure of most things.
Returning to classical rules of proportion, Renaissance
artists followed rigorous systems of composing pictures to
make them balanced, harmonious, timeless, and ideally
beautiful. They also developed various tools, such as different
types of perspective, as part of their parallel ambition to
create more perfect representation of the physical world.
PISANO, Nicola
(active 1258-1278)
Pulpit, 1260. Marble,
height: 465 cm
Baptistry, Pisa
The most extreme statement
of Nicola's Classicism resides
in Nicola’s "Fortitude", one of
the cardinal virtues derived
from Plato's Republic. This
statuette is considered the
first modern representation
of a heroic nude in the
Classical manner. It departs
from earlier depictions of
Hercules in the sculptor's
attitude towards the beauty
of the nude body.
Nicola Pissano,
Fortitude [刚毅], detail
from the pulpit, 1260
Marble, height: 56 cm
Baptistry, Pisa
Nicola PISANO: Adoration of the Magi, detail from the pulpit, 1260. Marble, 85 x 113 cm, Baptistry, Pisa
Nicola Pisano: Annunciation, Birth of Jesus and Adoration of the Shepherds, 1260. Marble, Baptistry, Pisa
Giovanni Pisano (son), The Annunciation and Nativity. 1298-1301. Marble, 84 x 102 cm, Sant'Andrea, Pistoia
Giovanni Pisano: Pulpit,
1301. Marble, height:
455 cm, Sant'Andrea,
Pistoia
The five reliefs depict: the
Annunciation, Nativity and
Annunciation to the Shepherds; the
Adoration, Dream of the Magi and
Angel warning Joseph; the Massacre
of the Innocents; the Crucifixion;
and the Last Judgment. They
demonstrate an increased interest
in anecdotal detail and narrative
enrichment.
At the angles of the archivolts
between prophets are six sibyls with
attendant genii whispering in their
ears, a motif also used by
Michelangelo on the Sistine Chapel
ceiling. It is in the style of the relief
and the figures with more
expressive gestures, angular forms,
diagonal rhythms, deep
undercutting and emphasis on
heavy shadows that one feels
Giovanni has found his mature
stride. The influence of French
ivories is everywhere evident. The
reliefs were carved quickly and
surely with great freedom and
abrupt plunges into darkness. For
the first time Giovanni carved the
reliefs tilting towards the viewer to
achieve greater visibility.
Bonaventura BERLINGHIERI,
Italian painter, Lucchese
school (active in mid-13th).
St Francis, 1235. Tempera
on wood. Church of San
Francesco, Pescia. The
painting of St Francis is one of
the earliest altarpieces
dedicated to the saint who
was canonized in 1228. The
Berlinghieri family exerted
considerable influence on
Florentine painting before
Cimabue.
Altarpiece
The altarpiece first appeared in Italy in the thirteenth century as new attention was focused on the
altar by changes in the liturgy, church architecture, and the display of relics. Painting on wooden panels
had not been common until this time, when gilded and painted panels of elaborate altarpieces began to
join -- and would eventually overshadow -- fresco and mosaic as the principal forms of decoration in Italian
churches. Artists in Europe turned to the Christian East to learn how to paint on wooden panels, adapting
the techniques, style, and subject matter of Byzantine icons.
For Byzantine Christians -- and Orthodox Christians today -- the icon was a true copy of its holy
model. Theologians used the analogy of a wax impression and the seal used to create it to describe the
relation between an icon and its subject. Because icons depict a holy and infinite presence, not the
temporal physical world, they avoid direct reference to earthly reality, to specific time or place. Instead,
backgrounds are dematerialized with shimmering gold, settings are schematized, and figures often appear
timeless and static. Icons are devotional images -- windows through which viewer and holy subject make
contact.
Church decoration was also meant to instruct the faithful. In the West, artists were called upon to
tell stories. Church frescoes and mosaics -- and now panel painting -- illustrated the lives of Christ, the
Virgin, and saints. New religious orders, especially the Franciscans, who renounced their possessions to
preach in villages and towns as Christ had done, stimulated interest in the human life of holy figures.
Artists sought to capture the world of everyday experience with greater verisimilitude, relying less on an
"ideal image in the soul" and more on what could be seen by the human eye.
Among the first and most important artists to move in this direction was Giotto. Recognized as a
father of "modern" painting, he was the first Western artist since antiquity to capture the weight and mass
of bodies moving in space, making them three-dimensional with light and shadow. He abandoned the
decorative pattern and complicated line of Byzantine art; his forms are heavy and his shapes simple. And
as if to match their convincing visual form, Giotto animated his figures with human psychology.
Renaissance critics contrasted Giotto's style, which they termed "Latin," with the work of his Sienese
contemporary Duccio, whose inspiration was Greek.
Duccio: Madonna and Child Enthroned with Angels and Saints, principal panel of the Maestà Altarpiece, 1308-1311. Tempera on
wood, size of the panel 7’x13’. Museo dell’ Opera de Duomo, Siena.
The huge altarpiece originally must have been over 5 meters (about 16.5 feet) high and 5 meters (about
16.5 feet) long. It was painted on both sides. The whole panel remained on the cathedral’s high altar until 1506,
and was then displayed on a different altar. Finally, in 1711 the decision was made to dismantle the altarpiece in
order to distribute them between the two altars. At first the whole frame, the predellas and the crowning sections
were removed. Then the panel was sawn into seven parts. The two predellas were each painted on a horizontally
laid piece of wood, and could therefore be taken apart easily. The main panel, however, posed a problem. On the
front, it consists of eleven boards arranged vertically, to which five boards, laid horizontally, were nailed from the
back. The wood, which had been glued and nailed together, was very difficult to saw in two, and in the process
the picture-surface was severely damaged – especially the Madonna’s face and garment. We owe the panel’s
present state of presentation to successful restoration in 1956.
Duccio, The Betrayal of Jesus, detail from the back of the Maestà Altarpiece, 1309-1311,
Tempera on wood, size of detail 57 x 102 cm. Museo dell’Opera Duomo, Siena.
Duccio di Buoninsegna The Nativity with the Prophets Isaiah and Ezekiel, 1308/1311, tempera on panel, middle section: 43.8 x
44.4 cm, left and right section: 43.8 x 16.5 cm. The Nativity, flanked by Old Testament prophets who foretold the birth of Jesus,
was on the front of the Maestà, the altarpiece at Siena cathedral. It was one of the scenes from Christ's childhood painted above
and below the central image of Mary enthroned in a crowd of saints and angels. With more than fifty individual scenes, the
altarpiece was about fourteen feet wide and towered to gabled pinnacles some seventeen feet over the main altar. It was installed in
June 1311 after a triumphant procession through the streets of Siena. Priests, city officials, and citizens were followed by women
and children ringing bells for joy. Shops were closed all day and alms were given to the poor. Completed in less than three years, the
Maestà was a huge undertaking for which Duccio received 3,000 gold florins -- more than any artist had ever commanded.
Nevertheless, Duccio, like all artists of his time, was regarded as a craftsman and was often called on to paint ceiling coffers, parade
Duccio di
Buoninsegna
The Calling of the
Apostles Peter and
Andrew, 1308/1311
tempera on panel, 43.5
x 46 cm. NGA,
Washington D.C. This
was one of the rear
panels of Duccio's
magnificent Maestà.
Duccio signed the main
section of the Maestà,
or "Virgin in Majesty,"
which is still in Siena.
His signature, one of
the earliest, reads:
"Holy Mother of God, be
the cause of peace for
Siena and life for Duccio
because he painted you
thus." This plea for
eternal life -- and
perhaps fame -- signals
a new self-awareness
among artists. Within a
hundred years
signatures become
commonplace.
A blend of Byzantine
and other influences
characterizes Duccio's
style. Many of his motifs
seem to be based on
Byzantine manuscript
illuminations.
Pietro CAVALLINI,
(1250-1330). The
Last Judgement
(detail of the
Apostles) 12951300. Fresco
Santa Cecilia in
Trastevere, Rome.
He was the first
artist to make a
significant break
with the stylizations
of Byzantine art,
and his majestic
figures have a real
sense of weight and
3-dimensionality.
His work
undoubtedly
influenced Giotto.
Enthroned Madonna and Child,
13th century, tempera on panel,
131.1 x 76.8 cm. NGA, Washington
DC. The blend of Byzantine and
Western elements indicates that the
was Greek, working in Italy or, at
least, for a Western patron. The
delicate gold striations defining the
folds of cloth are a Byzantine
convention, and the composition
itself is closely modeled on one of
the most enduring icon types, the
Hodegetria -- the Virgin who, by
indicating the Child, "shows the
way." Yet Jesus gives the Western,
not Eastern, sign of blessing, and the
halos are not the plain burnished
disks found in Byzantium but are
decorated with the floral patterns
popular in Italy. The threedimensional view of the Virgin's
throne may also reflect Western
influence. With her red shoes and
the archangels' imperial regalia, the
elaborate throne underscores Mary's
role as queen of Heaven.
CIMABUE, Italian painter, (1240-1302), The Madonna in Majesty, 128586. Tempera on panel, 385 x 223 cm, Galleria degli Uffizi, Florence.
This Madonna still shows the influence of the Byzantine tradition.
There is, however, an unprecedented tension in the profiles and in the
attempt to create spatial depth, which is rendered by superimposing
the figures and in the concave structure at the base of the throne
behind the figures of the prophets. The architectural structure of the
throne becomes a sort of robust spatial scheme which creates a threedimensional effect, while the edges of the painting seem to compress
and hold in the bodies. There is an intense vitality in the figures.
CIMABUE, The Madonna in
Majesty (detail), 1285-86.
Tempera on panel, 91 x 75
cm (full painting: 385 x 223
cm), Galleria degli Uffizi,
Florence.
In earlier times, the
Virgin was placed on a
throne and held her son with
the gravity of a priest
holding the chalice . . . . But
at the end of the 13th
century we come down to
earth again...the Mother and
Child gaze at each other,
and a smile passes between
them . . . . When we reach
the 14th century, we see the
Virgin and Child come even
closer to humanity.... And
finally, the Virgin who for so
long had shown such respect
and was seemingly unable to
forget that her son was also
her God, dared to embrace
the Child and press her
cheek against his.
GIOTTO di Bondone (b. 1267,
Vespignano, d. 1337, Firenze)
Ognissanti Madonna (Madonna
in Maestà). c. 1310. Tempera on
wood, 325 x 204 cm Galleria
degli Uffizi, Florence.
This is the greatest of Giotto's
panel paintings. The Child
raising his hand in a gesture of
benediction. The sad, remote,
inscrutable Virgin of the 13th c.
has been transformed into a
very human woman, her lips
parted in a hint of a smile that
reveals the white of her teeth.
The earthly weight of her body
is set off by the delicacy of the
Gothic throne. The groups of
angels on each side of the
throne occupy real space, and
would seem to be the elegant
retainers of a royal court.
Arena Chapel (or Scrovegni Chapel) begun 1303; consecrated 1305. Padua, Italy. This chapel may have been built initially with the
thought of having fresco decoration. Giotto was brought to Padua to design and paint the interior of the chapel.
Interior of the
Arena Chapel
(Capella
Scrovegni), Padua,
1305-1306.
The frescoes in
the Arena Chapel
in Padua are
among the most
celebrated works
in the history of
art. Giotto's work
was a source of
inspiration and
instruction for
generations of
painters; it was
studied and
absorbed by
Masaccio,
Leonardo da Vinci,
Michelangelo, and
Raphael, artists
whose own work
was to be of such
fundamental
importance for
the history of
European art.
Joachim was
expelled from
the temple
because of
his
childlessness
Joachim
made a
sacrificial
offering
that was
favourabl
y received
by God.
The angel
appearing
to him in
a dream
with the
announce
-ment of
the
coming
birth of
Mary
The angel
appeared
to Anne
with the
news that
she would
bear a
child.
Joachim's
return to
Jerusalem,
where he
meets his
wife Anne at
the Golden
Gate, and
Mary is
conceived in
the kiss that
Anne bestows
on her elderly
husband.
Giotto, The
Kiss of Judas,
c. 1305.
Fresco,
Arena
Chapel.
Giotto,
Lamentation,
c. 1305.
Fresco,
Arena
Chapel.
Arnolfo de Cambio (attributed), Franciscan Church of Santa Croce, Florence, 1294-1400. Giotto painted a Saint
John cycle and frescoes of the life and death of Saint Francis. The interior is a masterpiece of Italian Gothic
architecture. A high, unvaulted, open space, obstruction free, bright and serene, it is an eminently public hall.
Giotto. Bardi and
Peruzzi Chapels.
Church of Santa Croce,
Florence, Italy.
Giotto: Scenes from the Life of Saint Francis: Renunciation of Wordly Goods. 1325.
Fresco, 280 x 450 cm. Bardi Chapel, Santa Croce, Florence
Giotto. Death of St. Francis and Inspection of Stigmata. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence.
GADDI, Taddeo: Italian painter,
Florentine school (b. 1300, Firenze,
d. 1366, Firenze)
Life of the Virgin (detail), 1328-30,
Fresco, Cappella Baroncelli, Santa
Croce, Florence
Simone Martini, The Annunciation and Two Saints, 1333. Tempera on wood, 184 x 210 cm. Galleria degli Uffizi, Florence
The Birth of
Mary, 1342
Tempera on
wood, 188 x
183 cm
Museo
dell'Opera del
Duomo, Siena
Ambrogio LORENZETTI, (1290-1348), Allegory of the Good Government, 1338-40. Fresco, Palazzo Pubblico, Siena.
The fresco is on the side walls of the Council Room (Sala dei Nove) of the City Hall (Palazzo Pubblico) of Siena. The size of the room is 2,96 x 7,70 x 14,40 m.
The subject of the frescoes are the Good and Bad Government and their effects on the life of the cities and villages. The Allegory of the Good Goverment is
situated on the smaller wall opposite to the windows. The composition is built up from three horizontal bands. In the foreground the figures of contemporary
Siena are represented. Behind them, on a stage, there are allegoric figures in two groups, representing the Good Government. The two groups are connected by
the procession of the councilors. The upper band indicates the heavenly sphere with the floating bodyless ghosts of the virtues.
The enthroned man on the right side of the middle band represents the city of Siena and embodies the Good Government. Around his head the four letters C S
C V (Commune Saenorum Civitatis Virginis) explain his identity. At his feet the two plating children are the sons of Remus, Ascius snd Senius, the founders of
Siena according to the Roman legends. On both sides of Siena the virtues of Good Government are represented by six crowned, stately female figures: Peace,
Fortitude and Prudence on the left, Magnanimity, Temperance and Justice on the right. On the far left of the fresco the figure of Justice is repeated as she is
balancing the scales held by Wisdom.
Below the fresco there is the signature of the painter: AMBROSIUS LAURENTII DE SENIS HIC PINXIT UTRINQUE.
Ambrogio Lorenzetti (1290-1348),
Effects of Good Government on the City Life (detail) 1338-40. Fresco. Palazzo Pubblico, Siena
The Effect of the Good Goverment is situated on the longer wall of the room. This panoramic fresco represents several scenes
indicating the life of Siena and its environment in the 14th century. This detail shows the centre of the city. In the middle the dancing
young women probably represent the nine Muses. There are several genre like scenes in the picture (shops, chatting men, riders,
working men on the roof etc.)
Ambrogio Lorenzetti, Effects of Good Government on the City Life (detail),
1338-40, Fresco, Palazzo Pubblico, Siena
Effects of Bad Government on the Countryside (detail),1338-40, Fresco, Palazzo Pubblico, Siena.
In the hilly countryside the only activities are ones of death and destruction, setting fire to isolated houses
and whole villages. The countryside is bare and barren, the trees bear no fruit and no one is cultivating the land.
Effects of Bad Government on the City Life (detail), 1338-40. Fresco, Palazzo Pubblico, Siena
Inside the city surrounded by crenellated walls, houses are torn down and set ablaze, the streets are full of
rubble, the palaces collapse, while all around hoards of soldiers commit acts of violence, killing and maiming. In
this city, where loneliness reigns, no one is working; just one artisan, a blacksmith, is forging weapons.
Francesco TRAINI, (active 1321-1363), Triumph of Death (detail), c. 1350, Fresco, Campo Santo, Pisa.
The fresco, with its naturalistic details, shows direct influences of the Sienese masters, Pietro and
Ambrogio Lorenzetti.