16/10/2012. Proto-Renaissance Painting. Tuesday, October 16, 2012 Course Outline. Key Notions. -Chiaroscuro -Fresco -Iconography -Tempera
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1 Proto-Renaissance Painting Or, a New Way of Seeing St. Lawrence, 10/16/2012 Tuesday, October 16, 2012 Course Outline The Renaissance Fresco Giotto Tempera The Arena Chapel Key Notions -Chiaroscuro -Fresco - -Tempera 1
2 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 Source: 9 High Mannerism Baroque Parmigianino Fresco Or, the art of painting on walls Upper basilica of St. Francis , Assisi 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 2. Sinopia 3. Second plaster layer (sections - giornata) 4. Painted 5. When dry, the paint sets in the plaster (durability) 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 Source: 9 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 4
5 Giotto, Madonna in Maestà c. 1310, Tempera on wood, 325 x 204 cm, Galleria degli Uffizi, Florence The Arena Chapel, Or, the appearance of higher ideals Arena Chapel , Fresco, Padua 5
6 Arena Chapel 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 Conclusion Giotto experience religious 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 will be studied directly by Donatello, Masaccio, Michelangelo Master of San Baudelio de Berlanga, Entry into Jerusalem,1125 After him, art fell back into decadence. Da Vinci Suggested readings -Gombrich, The Story of Art, p ; Cleaver, Art, an Introduction, p Fiero, The Humanistic Tradition, vol. 2. p ; vol. 3, p Kleiner, Gardner s Art through the Ages, p
10 Bibliography and Sources 1. Adams, Exploring the Humanities 2. Cleaver, Art, an Introduction 3. Davies, Janson s Basic History of Western Art 4. Fiero, The Humanistic Tradition, vol. 2 and vol Eirmerl, Giotto et son temps 6. Gombrich, The Story of Art 7. Kleiner, Gardner s Art through the Ages 8. University Laval Course Notes
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