1. Early Renaissance Art
Four Italian city states that were very successful commercially during the late Gothic period:
Venice
Florence
Lucca
Siena
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2. Bubonic plague, which killed between 25 and 50 percent of Europe’s population in about five years. It stimulated religious bequests and encouraged the commissioning of devotional images. The focus on sickness and death also led to a burgeoning in hospital construction.

3. Humanism
A mode of civil conduct, a theory of education and a scholarly discipline, mainly concerned with human values and interests as distinct from (but not opposed to) religion’s otherworldly values. Humanists were particularly interested in classical cultures, the artifacts of which abounded in Italy, and thus helped lead to the rise of the renewal of interest in classical art in the Renaissance.

4. Slide concept by William V
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5. Byzantine was the style that dominated Medieval Italian painting
Stylistic characteristics.
Frontal poses.
Lack of modeling.
Spatial and linear flatness.
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Bonaventura Berlinghieri
Panel from the Saint Francis Altarpiece
San Francesco, Pescia, Italy
1235 tempera on wood approximately 5 ft. x 3 ft. 6 in.

6. St. Francis preaching to the birds. St. Francis performing miracles.
Francis of Assisi, founder of the Franciscan order of monks. He believed he could get closer to God by rejecting worldly goods and he committed himself to a strict life of fasting, prayer, and meditation. The Franciscan worked to demonstrate the example of St. Francis and the order’s commitment to teaching and alleviating suffering.
Three episodes of his life that are illustrated in Berlingieri’s altarpiece:
St. Francis preaching to the birds.
St. Francis performing miracles.
St. Francis receiving the stigmata from a seraph.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Bonaventura Berlinghieri
Panel from the Saint Francis Altarpiece
San Francesco, Pescia, Italy
1235 tempera on wood approximately 5 ft. x 3 ft. 6 in.

7. Slide concept by William V
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8. Pulpit of Pisa Cathedral Baptistery
Two trends shown in the works of Nicola and Giovanni Pisano that become significant in the development of Renaissance art.
A new interest in classical antiquity. The densely packed large-scale figures of the relief panels of Nicola’s Pisa Cathedral pulpit are probably inspired by Roman sarcophagi in pose, bulk, and facial type.
Giovanni’s figures in the Sant’Andrea pulpit are loosely and dynamically arranged with animation, swiftly turning and rife with emotionalism and naturalism.
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Nicola Pisano
Pulpit of Pisa Cathedral Baptistery
marble approximately 15 ft. high

9. Pulpit of Pisa Cathedral Baptistery
Annunciation and Nativity
Crucifixion
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Nicola Pisano
Pulpit of Pisa Cathedral Baptistery
marble approximately 15 ft. high

10. Slide concept by William V
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11. Seated Apostles from the Last Judgment
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Pietro Cavallini
Seated Apostles from the Last Judgment
Santa Cecelia in Trastevere, Rome Italy
ca. 1291

12. The deeper space the Madonna and other figures reside in.
Cimabue was deeply influenced by the Italo-Byzantine style, he moved beyond it in the following ways:
The deeper space the Madonna and other figures reside in.
The gold embellishments taken from Byzantine art are used to add three- dimensionality to the drapery.
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Cimabue
Madonna Enthroned with Angels and Prophets
ca tempera on wood 12 ft. 7 in. x 7 ft. 4 in.

13. Artistic traditions that influenced Giotto:
The Roman school of painting as represented by Cavallini, the work of Cimabue (presumed to be his teacher), French Gothic sculpture, and developments in contemporary Byzantine art.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
ca tempera on wood 10 ft. 8 in. x 6 ft. 8 in.

14. Sculptural solidity and weight.
Two characteristics of Giotto's style as seen by comparing his Madonna Enthroned with Cimabue's version of the same subject
Sculptural solidity and weight.
Figures that project into the light and give the illusion that they could throw shadows.
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Cimabue
Madonna Enthroned with Angels and Prophets
Giotto di Bondone
Madonna Enthroned

15. Slide concept by William V
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16. Interior of the Arena Chapel Padua, Italy
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Giotto di Bondone
Interior of the Arena Chapel
Padua, Italy
fresco

17. Interior of the Arena Chapel Padua, Italy
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Giotto di Bondone
Interior of the Arena Chapel
Padua, Italy
fresco

18. The subjects of the framed scenes deal with:
The most poignant incidents from the lives of Mary and her parents (top level), the life and mission of Christ (middle level), and his Passion, Crucifixion, and Resurrection (bottom level).
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Giotto di Bondone
Interior of the Arena Chapel
Padua, Italy
fresco

19. Four characteristics of Giotto’s style as seen in the Lamentation scene
Figures are in defined groups each of which contribute to the rhythmic order of the composition that concentrates the viewer’s attention on the most important part of the picture.
Figures are seen from the back, emphasizing the foreground.
The framed scenes are connected with formal elements such as the rocky ledge.
The figures are sculpturesque (aided by the use of light and shade), simple, and weighty, but without precluding motion and emotion.
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Giotto di Bondone
Lamentation
from the Interior of the Arena Chapel
Padua, Italy, fresco

20. In true fresco (buon fresco), the paint in the form of permanent limeproof pigments is diluted in water and applied to freshly laid lime plaster.
In fresco secco, the paint is applied to an already dry lime plaster wall.
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Giotto di Bondone
The Meeting of Joachim and Anna
from the Interior of the Arena Chapel
Padua, Italy
fresco

21. The Meeting of Joachim and Anna from the Interior of the Arena Chapel
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Giotto di Bondone
The Meeting of Joachim and Anna
from the Interior of the Arena Chapel
Padua, Italy
fresco

22. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

23. Cambio et al. Florence Cathedral Florence, Italy begun 1296
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Cambio et al.
Florence Cathedral
Florence, Italy
begun 1296

24. Cambio et al. Florence Cathedral Florence, Italy begun 1296
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Cambio et al.
Florence Cathedral
Florence, Italy
begun 1296

25. Or San Michele, Florence, Italy
Andrea Orcagna
Tabernacle
Or San Michele, Florence, Italy
ca mosaic, gold, marble, lapis lazuli
Bernardo Daddi
Madonna and Child with Saints
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26. Slide concept by William V
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27. The subject of Duccio’s Maesta Altarpiece was The Virgin, as Queen of Heaven, and Child.
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Duccio di Buoninsegna
Virgin and Child Enthroned with Saints from the Maestà altarpiece
from Siena Cathedral, Siena, Italy
tempera on wood 7 ft. x 13 ft.

28. Three stylistic elements Duccio derived from the Byzantine tradition:
The composition’s formality and symmetry.
The figures and facial types of the principal angels and saints.
The scene does not represent a narrative or present illusionistic space by the use of modeled forms.
Three ways in which Duccio modified it:
He relaxed the strict formality of the figures by turning them to each other.
He individualized the faces of the four saints kneeling in the foreground.
He softened the drapery patterning of Byzantine art, depicting them as shimmering and glistening textiles.
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29. Betrayal of Jesus from the back of the Maestà altarpiece
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Duccio di Buoninsegna
Betrayal of Jesus from the back of the Maestà altarpiece
from Siena Cathedral, Siena, Italy
tempera on wood 1 ft.10 1/2 in. x 3 ft. 4 in.

30. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

31. Duccio di Buoninsegna Madonna and Child
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Duccio di Buoninsegna
Madonna and Child
ca tempera and gold on wood 11 x 8 1/8 in.

32. International Style (painting)
a style in art during the late 14th and early 15th centuries characterized by elegant stylization of illuminated manuscripts, mosaics, stained glass, etc., and by increased interest in secular themes. Major contributors were Simone Martini, Giotto, and Pisanello

33. List four characteristics of the International Style.
Simone Martini and the International style:
Martini adapted the insubstantial but luxuriant patterns of the French Gothic manner to Sienese art, and in turn acquainted northern painters with the Sienese style.
List four characteristics of the International Style.
Brilliant colors.
Lavish costumes.
Intricate ornamentation.
Themes involving splendid processions.
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Simone Martini and Lippo Memmi
Annunciation
1333 tempera and gold leaf on wood 10 ft.1 in. x 8 ft. 8 3/4 in.

34. Slide concept by William V
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35. Pietro Lorenzetti The Birth of the Virgin from Siena Cathedral
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Pietro Lorenzetti
The Birth of the Virgin
from Siena Cathedral
1342 tempera on wood 6 ft.1 in. x 5 ft. 11 in.

36. Palazzo Pubblico Sienna, Italy 1288-1309
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Palazzo Pubblico
Sienna, Italy

37. Peaceful City shows the growing knowledge of perspective in the architectural forms. Peaceful Country is a specific place and environment, rather than the generic earlier ancient depictions of landscape
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Ambrogio Lorenzetti
Peaceful City
Detail from the fresco Effects of Good Government in the City and in the Country
fresco

38. Ambrogio Lorenzetti Peaceful Country
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Ambrogio Lorenzetti
Peaceful Country
Detail from the fresco Effects of Good Government in the City and in the Country
fresco

39. Allegory of Bad Government
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Ambrogio Lorenzetti
Allegory of Bad Government
Detail from the fresco Effects of Bad Government in the City and in the Country
fresco

40. Ambrogio Lorenzetti Effects of Bad Government in the Country
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Ambrogio Lorenzetti Effects of Bad Government in the Country
Detail from the fresco, Effects of Bad Government in the City and in the Country fresco

41. They started from age 7 to 15, living with a master painter.
Artists were trained as in any other profession, in the apprentice system.
They started from age 7 to 15, living with a master painter.
Guilds supervised training, wanting to ensure professional reputations as well as to control the number of artists to limit competition.
After leaving their apprenticeships, artists entered related guilds and affiliated themselves with workshops as assistants to master artists.
Figure painting was reserved for the master artists.
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