11/03/2018. Proto-Renaissance Painting. Proto-Renaissance Painting. Key Notions. -Chiaroscuro -Fresco -Iconography -Tempera
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1 Proto-Renaissance Painting Or, a New Way of Seeing St. Lawrence, 3/11/2018 Proto-Renaissance Painting Or, a New Way of Seeing Key Notions -Chiaroscuro -Fresco - -Tempera 1
2 1209 Franciscan Order Founded 1266 Thomas Aquinas Summa Theologica Upper Basilica of St. Francis The Arena Chapel The Great Schism Timeline Italy, 1400 Michelangelo, David 1504, Marble, height 434 cm, Galleria dell'accademia, Florence Renaissance 1. Humanism 2. Classical form; Christian content 3. Artist is respected 4. New commissioners 2
3 Artists and the Three Styles Dürer Rubens Raphael Parmigianino Source: 9 High Mannerism Baroque Order Rationality Symmetry Linear perspective Atmospheric perspective Spatial concern Humanism Unification of experiences Word-stock Upper basilica of St. Francis , Assisi The Crypt of Saint Francis Giotto, Stigmatization of St Francis, 1300 Source: 9 & 10 Proto Early High 3
4 Giotto, Lamentation of the Poor Ladies , Fresco, Upper Basilica of St. Francis, Assisi Fresco 1. Plastered surface - arriccio 2. Sinopia red pigment 3. Second plastered layer - intonaco (sections - giornata) 4. Painted section 5. Repeat steps 3 and 4 6. When dry, the paint sets in the plaster carbonation (durability) Source: 5 Proto Early High Buon Fresco Technique Carbonation at work Cross-section 1. Support wall 2. Arriccio - plastered surface 3. Sinopia red outline 4. Intonaco day plaster 5. Painted layer 6. Sets in the carbonation process Source: 5 Proto Early High Giotto and the Proto-Renaissance Florence, c Born at Romignano Son of a wealthy farmer Cimabue and the rock (1276) Realistic fly Travels to Rome (1280) Works at Assisi?! (1290) Arena Chapel ( ) Buried in Santa Maria del Fiore Léon Bonnat ( ), Giotto Keeping Goats, 1850, Oil on canvas, cm, Musée Bonnat, Bayonne Source: 9 4
5 Traditions and Innovations Staying loyal to and straying from the past Giotto will stay somewhat loyal to his master s compositions Giotto will break with Byzantine art (namely from its conventions; e.g. flat figures, expected compositions, and lack of spatial tangibility) A new focus on the sources of art (nature rather than concepts or conventions) Spatial relations are to be studied Humanism implies rethinking the relationship between artistic items Major influences: classical art, Cimabue, and nature Cimabue, The Madonna in Majesty (in Maestà) , Tempera on panel, 385 x 223 cm, Galleria degli Uffizi, Florence Tempera 1. Wood panel is prepared 2. Outlines are inked in 3. Gold leaf is applied 4. Pigments mixed with egg yolk 5. Painted and left to dry 6. Varnished 7. Months of preparation Source: 9 Byzantine Proto Early Giotto, Madonna in Maestà c. 1310, Tempera on wood, 325 x 204 cm, Galleria degli Uffizi, Florence Chiaroscuro Source: 9 Byzantine Proto Early 5
6 Arena Chapel , Fresco, Padua Last judgement 1305, Fresco, Padua, 1000 x 840 cm Last judgement 1305, Fresco, Padua, 1000 x 840 cm 6
7 :History painting (religious; Baptism of Christ) 7
8 8
9 French Miniaturist, Baptism of Christ, 1160s, Illumination on parchment, 24,9 x 15,6 cm, Staatliche Museen, Berlin Source: 9 & Interpretation Various Panels , Fresco, Arena Chapel, Padua Comparison: Byzantine and Giotto GUIDO DA SIENA Altarpiece, c UNKNOWN MASTER (Italian), c MASTER of St Francis c Source: 9 Byzantine Proto 9
10 What Makes a Giotto a Giotto Historical (religious) Theatrical staging Used to reinforce narration Primitive use of chiaroscuro Arena Chapel blue Fresco Christian and Marian depictions Novelties Personalization of emotions Individualization of characters Observation of reality is the first step for humanist painting Conclusion Giotto religious experience - rebirth of humanism 1. He adds expression to faces 2. Individualizes figure 3. Links theme with form (concern for composition) 4. Adds volume (with chiaroscuro and natural lighting) and depth (with theatrical staging 5. Relies on observation to reinforce these elements He is so important that he will be studied directly by Donatello, Masaccio, and Michelangelo! Master of San Baudelio de Berlanga, Entry into Jerusalem, 1125 After him, art fell back into decadence. Da Vinci 10
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