As discussed by Kloss (2005), the subject matter of Giotto’s Arena Chapel (1303-05) and Duccio’s Maestà (1308–11) are similarly both narrative cycles of Christian biblical scenes depicting the lives of the Virgin Mary and Jesus Christ. Giotto’s cycle of paintings were done in frescoes which adorn the walls of the Arena Chapel in Padua Italy. Duccio’s Maestà was a double sided altarpiece for the Cathedral of Siena, Siena, Italy with tempera and gold on wood. The main frontal image is the Madonna and Child Enthroned and the reverse side consists of forty smaller images of biblical accounts from the life of Mary and Jesus. According to Kloss (2005), Giotto, born Giotto di Bondone (1266/7-1337) was from Florence Italy and Duccio, born Duccio …show more content…
di Buoninsegna (1255-1260 –1318/19) was from Siena, Tuscany. The context of the two aforementioned works were both commissioned as most works of this nature were at the time by either a wealthy patron or the church. Giotto’s Arena Chapel which was a private chapel for the Scrovegni family palace built above an ancient Roman amphitheater, hence the name “Arena”.
The Scrovegni Chapel the Arena Chapel’s proper name was commissioned by Enrico Scrovegni. Enrico’s father, Riginaldo who died when Enrico was twelve, was a wealthy albeit corrupt man whose wealth and notoriety resulted from lending money at usurious rates. Since Riginaldo was so despised, as to be included in Dante’s fictional hell in his Divine Comedy (1307), Enrico commissioned the chapel in redemption for the family’s sins. Kloss speculates the illustration of the Annunciation was positioned to be the first image visible upon entering the chapel “and as the first significant act in the Christian drama of salvation, this is absolutely appropriate, for this chapel is a burial chapel for the Scrovegni family. Enrico Scrovegni undoubtedly hoped for salvation, and after years of exile in Venice, where he died, he was buried here” (L6). Giotto incorporated Enrico’s image in the illustration of the Last Judgment where he is depicted as kneeling “at the foot of the cross, and he's offering a model of his chapel, which is supported by a friar on the right to, the Virgin Mary accompanied by a saint and an angel. Of course, he's positioned at the right hand of the enthroned Christ, among the saved” …show more content…
(L7). Duccio’s Maestà was commissioned as a devotional altarpiece dedicated to Santa Maria (St. Mary). As stated by Kloss (2005): “In 1260, divine intervention by the Virgin Mary had been credited with a great victory over the Florentine forces. Since it occurred one day after the feast of the Assumption of the Virgin, during which the people of Siena had dedicated themselves and their city to her protection, they immediately adopted her as their patron saint” (L8). Duccio’s interpretation and style differed from Giotto in size and medium. Kloss (2005) states: “its quality resides partly, in the finely detailed, subtly composed scenes that often measured about 17 or 18 inches square. There's a vast difference in technique between fresco, with its broadly painted areas, and tempera, which is slow, painstaking, and perfectly suited to small formats” (L8). As stated by Kloss (2005): Duccio was an artist more clearly indebted to and reflective of the artistic ideals of the late Middle Ages of the Gothic period in Italy and of the Byzantine tradition which was also well established there.
Instead of the powerful naturalism of Giotto, Duccio accepted the lyrical and austere beauty of Byzantine art and he imbued it with a new spirit, the spirit of the humanism, or at least the heightened awareness of humanity, that was issuing from the newly founded Franciscan and Dominican orders. This is true of Giotto, but it is true of Duccio also (L8). Both Duccio and Giotto painted architecture within their paintings adding depth and a sense of space to two dimensional planes. They both also used bright colors and shadow creating more realistic textures and humanness to their figures. Giotto became known for facial expressions creating narrative drama. Both artists depicted deeply emotional subject matter which portrayed serene as well as violent images with beautiful artistry. As stated by Kloss
(2005): Duccio is the first great painter from Siena and the greatest painter from Siena. He is usually played against his great Florentine contemporary, Giotto, and usually, I think, to his disadvantage. That's simply because Giotto, as a true and obvious precursor of the Renaissance period of the 15th century, is the beneficiary of the modern era's Darwinian belief in progress. The most important art is that which makes an obvious "advance" upon that which went before. Usually, that advance is stylistic or technical. Sometimes, it's based upon subject matter that has only recently been introduced in the history of art. This bias took hold in the 19th century not only because of Darwin, but because of the concept of the other Avant Garde, which arose at the same time.
For example, Masaccio used the medium fresco. It dries quickly and requires the artist to work fast with color broadly applied. This medium enables Masaccio to create generalized forms over the precise details of oil and tempura painting. However, Campin used the oil medium. This gave him the ability to create jewel-like illusions of reality. Campin and others of this era were motivated to paint the external world and all the different facets that create it. On the other hand, Masaccio wanted to create a painting that is more realistic and wanted the people to be able to relate to the art. Also, both artists use light and shadow to highlight and emphasize different parts of the paintings. For instance, Campin lit the room with sunlight and put a focus on Mary’s dress. This lighting causes the dress to turn into a shape of a star. This can symbolize the presence of the star of Bethlehem. Many other religious symbols are found in the painting. The eyes are not drawn to a particular object. This is not the case in Masaccio’s painting. He does not particularly shine light on one object. Even though the eyes are drawn to Jesus, we get a sense of balance between all the objects. This portrays faith and it’s mysteries as well as the perfection symbolism that comes with God. Masaccio creates a three dimensional like form even though it is on a two-dimensional surface. The painting shows
Berlinghiero and Giotto were both Italian painters. Berlinghiero was from Lucca, which is near Pisa. He established a family of painters there and was actively painting from twelve hundred twenty-eight until his death in twelve hundred thirty-six. Giotto was a native of Florence, although he travelled during his career.
The Holy Trinity by Masaccio was a painting done in approximately 1428. It is a
The paintings by Duccio and Giotto firmly set in place a benchmark for where artwork in the years around 1300 began to develop. These artworks show how paintings began to evolve into more symbolic, naturalistic, and dramatic scenes, depicting events in life and religion. The paintings of Duccio and Giotto are similar in the sense that their paintings were then, in the sense of more modern words, “special effects” of their time. They show vivid colors with meaning and symbolism, atmospheric characters that exist in space, and composition that is well thought out. Overall, these two artists become a pinnacle of art that illustrates Italian paintings in the years around 1300.
The history of the Madonna and Child starts in the Byzantine era. In this era paintings were not meant to look realistic, but rather were supposed to remind the viewer of a story or theological concept, in this case usually the concept that Jesus was both fully God and fully human. The years progressed and these paintings became more and more realistic as the Renaissance era was ushered in. During this time period artists strove to paint more accurate representations of their subjects. Even during this time, however there was still a use of iconology. Though all of these paintings have basically the same content, with the addition of various saints and angels, the theology that we can see in each painting differs greatly.
In this period, there are the bases for the creation of a new movement that will culminate during the 14th century. This particular view is enclosed in a sub-movement called humanism: humanists encouraged to put in the centre of the universe the man. The man is the main centre of the universe and of the thoughts. In this period intellectuals obtained answers in the works of the ancient classics, they embraced the classic culture, especially the ancient Greek culture, leading to the birth of a new science: The Philology, whose main learner was Lorenzo Valla. Classic themes are the inspiration for the artists: from poets to painters, they are all under this influence.
Siena, a town located in the heart of the “boot” of Italy is stationed just over forty miles south of Florence. This city claimed the Virgin Mary as their patron saint praying to her for protection and the keeping of peace. Siena’s nickname was “Vetusta Civitas Virgins” which means “The Ancient City of the Virgin.” Therefore creating Mary as the main focus of the Maestà was not even questionable in Duccio’s large-scale masterpiece. Even today, many pray to the iconography of Mary as seen in the portable Catholic rosaries of the majestic virgin. Majesty translates to Maestà in Italian. It was named this because it beheld the Virgin in majesty reflecting the high regards of Mary during that time.
The subject of The School of Athens is humanistic in and of itself. The Textbook Defines humanism in the glossary as “A philosophy emphasizing the worth of the individual, the rational abilities of humankind, and the human potential for good. During the Italian Renaissance, humanism was part of a movement that encouraged study of the classical cultures of Greece and Rome.” In this fresco, Raphael represents the worth and achievements of individuals, as well as the greatness of classical culture. The School of Athen...
“The Met’s very own Mona Lisa” (Tomkins 9). That is what Duccio di Buoninsegna’s Madonna and Child painting is known as today. “The Metropolitan Museum of Art bought the Madonna and Child for forty-five to fifty million dollars” (Tomkins 1). However, the painting was not always in public hands; in fact, the Met purchased the last known work of Duccio in private hands. Originally, the painting was held in the private hands of Adolphe Stoclet and his wife. When the couple died, their house and their collection went to their son, Jacques who held onto the painting, and passed it down to his daughters who lent it to an exhibition in Siena of Duccio and his school. The painting was eventually withdrawn from the exhibition and sold (Tomkins 2). Madonna and Child painting dated 1300 and was painted by Duccio di Buoninsegna a Sienese painter, who is considered the founder of modern Italian painting. I chose to research this painting because the subject matter of religious imagery and symbols interests me. Also because when I looked at the painting the emotion on the Madonna’s face almost jumped out at me. It is as if, she is looking at her newborn child with this deep sadness, which almost makes you think that the painting is foreshadowing the death of Jesus Christ. In addition, the burns of the side of the frame peaked my interest, as to why they were there. Art critics were also interested in this work they even consider Madonna and Child one of Duccio’s perfect works, and it said to be worth all the other paintings exhibited under the name of Duccio (Christiansen 14). The Madonna and Child painting’s iconography, imagery, emotional appeal to the viewers, and meaning all make this painting still a great work of art today.
In the Florence Cathedral, Florence, Italy, there is a cathedral church whose octagonal dome, built without the aid of scaffolding, was considered the greatest engineering feat of the early Renaissance. Dedicated to Santa Maria del Fiore, Our Lady of the Flower, it is also known as the Duomo, after the Italian word for cathedral. Created by many great Early Modern artists, this piece of architecture is a perfect example the Renaissance style. We can come to a better understanding of why this is so by exploring what the characteristics of the Renaissance “style”. To understand the properties of the Florence Cathedral that fit the Early Modern style, I will begin with a description and its history. The cathedral's architectural style, although greatly influenced by French Gothic elements remained distinctively Florentine, especially the geometric patterns of red, green, and white marble on the building's exterior. Construction of the cathedral began in 1294 on the site of a Christian church founded in the 6th or 7th century and continued until 1436. Several celebrated Italian architects were involved in the project, including Giotto, Arnolfo di Cambio, Andrea Orcagna, and, most notably, Filippo Brunelleschi, who was responsible for designing and building the dome. The cathedral's exterior is ornamented with sculpture and mosaics by Italian artists Donatello, Nanni di Banco, and Domenico Ghirlandaio, among others. The building's stained-glass windows are the work of the Italian architect and artist Lorenzo Ghiberti, and the interior is decorated with sculpture and fresco paintings by several Renaissance masters. Construction of the campanile (bell tower), situated to the right of the entrance to the Duomo, was begun by Giotto and completed according to his plans in 1359, after his death. Nearly 278 ft high, the campanile is embellished with red, green, and white marble panels of relief sculpture by Italian artists Andrea Pisano and Luca della Robbia, and niches with sculpted figures by Donatello and other masters. Facing the cathedral and campanile is a smaller, octagonal structure, the Baptistery of San Giovanni, noted for its gilt-bronze doors, elaborately worked in high relief by Andrea Pisano and Lorenzo Ghiberti. With that background information about the cathedral, one question comes to mind: what is it that makes the Renaissance style distinct? Renaissa...
Giotto was a Renaissance painter who dabbled in many other artistic venues such as sculpting and architecture. Along with his trademarks Giotto also pursued new forms of art created in the Renaissance like fresco paintings and three dimensional paints on two dimensional canvases. In 1267, Giotto was a born in the village of Vespignano-which is located near Florence, Italy. His full name was Giotto di Bondone and he was born to a family of small land farmers. During his lifetime Giotto produced many influential paintings - mainly frescoes - and was a highly acclaimed painter. He was a white hetrosexual male and of the Roman Catholic Church. There are two stories told of Giotto’s rise to fame. Both stories revolve around a well known Italian painter named Cimabue. One version says Cimabue caught Giotto sketching one of his father’s sheep on a rock when he was twelve, Cimabue loved his work so much he took him on as a pupil. Another version says while apprenticed to a wool merchant Giotto visited Cimabue’s studio so often the artist finally was allowed him to study. Giotto was a happy ...
Before Giotto, painting closely resembled the schematic and archaic Byzantine style. The figures were often stiff, two-dimensional, and did not evoke emotion from the viewer. Giotto’s style diverged greatly from the tenants of the Byzantine era and influenced generations of artists who followed him. His approach brought a level of humanism, vitality, and emotion to the subjects of his painting and would greatly influence the Renaissance era. In straying from the Byzantine style, Giotto's techniques evoked great emotion in both his subjects and from his audience. This level of interaction and emotional connection would become trademarks of the Renaissance.
Hetherington , Paul. " Duccio di Buoninsegna Biography - (active c. 1278 , d. 1318/19), Madonna, Virgin in Majesty, Maestà - Maestà, Siena, Madonna, Art, Tuscan, and Major ." The Arts: Fine Art, Contemporary Art & Music. N.p., n.d. Web. 7 Mar. 2011. .
To many historians Dante Alighieri lies firmly beyond the reach of early Renaissance Florence, on the cusp yet still belonging to the late Middle Ages. Few concede that the famous poet belonged to the former, but here proposed is an alternative: approaching history as it truly played out, as a continuum. Early humanist thought did not suddenly appear in Florence shortly after Dante’s death, but rather the ideas and attitudes of the city and its people began to change quite slowly, gaining momentum in the latter half of the fourteenth century. Though Francesco Petrarca may be considered the father of humanism, it is seen in Alighieri's most famous work, La Divina Commedia, that Dante demonstrated
“The painter will produce pictures of little worth if he takes for his standard the pictures of others… Giotto the Florentine, who was not content with imitating the works of Cimabue, his master… he excelled not only all the masters of his time but all those of many centuries past…” 3