1. Gothic Art History of western Art Duccio ‘The Madonna Enthroned’, centre of the Maesta Altar, Cathedral Museum, Siena.

3. DUCCIO

4. CIMABUE

5. Duccio, ‘The Madonna Enthroned’ Introduction: Gothic is the culmination of the ideals and artistic forms of mediaeval Christian art. Its cradle is in the heart of France: Ile de France (literally island of France), the smallest and most central of its northern provinces with Paris as its capital.

6. Duccio, ‘The Madonna Enthroned’ Its most noble and refined manifestation dates from 1200 to 1275. A century later, it spreads through Europe to become an international style which lasted well into the middle of the 16th century, and even later.

7. Duccio, ‘The Madonna Enthroned’ The name Gothic was given to the style by the late Renaissance critics, as a term of contempt, denoting barbaric, because it did not conform to the classical ideals, which were the only ones they accepted. This criticism is not only prejudiced and narrow – minded, but shows also a lack of historical knowledge.

8. Duccio, ‘The Madonna Enthroned’ In the 13th and 14th centuries, people called it opus modernm (modern work or style), being the newest in their time; or opus francigenum (French work), which is the most correct name with regards to its origin, but not its extensions

9. Duccio, ‘The Madonna Enthroned’  Art critics, ever since the Renaissance, declare this style to be one of the highest accomplishments of the human mind, and the finest artistic achievements of France. It is on a par with Greek art for originality.

10. Duccio, ‘The Madonna Enthroned’ Duccio, The Madonna Enthroned, The Madonna Enthroned of a quarter century later by Duccio of Siena (c.1225 – before 1319) for the main altar of Siena, cathedral, makes an instructive comparison with Cimabue’s.

11. Duccio, ‘The Madonna Enthroned’ The Siense honored this panel by calling it the Maesta – “majesty” – to identify the virgin’s role here as the queen of Heaven surrounded by her celestial court of saints and angels. At first glance, the two pictures may seem much alike, since both follow the same basic scheme; yet the differences are important.

12. Duccio, ‘The Madonna Enthroned’ They reflect not only two contrasting personalities and contrasting local tastes – the gentleness of Duccio is characteristic of Siena – but also the rapid evolution of style

13. Duccio, ‘The Madonna Enthroned’  In Duccio’s hands the Greek manner has become unfrozen, as it were: the rigid, angular draperies have given way to an undulating softness, the abstract shading – in – reverse with lines of gold is reduced to a minimum, and the bodies, faces, and hands are beginning to swell with a subtle three dimensional life.

14. Duccio, ‘The Madonna Enthroned’ Clearly, the heritage of Hellenistic – Roman illusion that had always been part of the Byzantine tradition, however dormant or submerged, is asserting itself once more

15. Duccio, ‘The Madonna Enthroned’  But there is also a half – hidden Gothic element here; we sense it in the fluency of the drapery folds, the appealing naturalness of the infant Christ, and the tender glances by which the figures communicates with each other.

16. Duccio, ‘The Madonna Enthroned’  The chief source of this Gothic influence must have been Giovanni Pisano, who was in Siena from 1285 to 1295 as the sculptor – architect in charge of the cathedral facede.