Late Gothic Artists to Know Duccio Lorenzetti Nicola Pisano Cimabue GIOTTO Simone Martini

Late Gothic What you need to know about Black Death wipes out 25% of Europe Also known as “Proto-Renaissance” Gothic ARCHITECTURE = France Late Gothic PAINTING = Italy Think of Late Gothic Painting as the “Hellenistic Period” of the High Gothic Era – Emotional, Detailed, and a more Humanistic Connection

Nicola Pisano (circa 1220-c. 1284). Nicola is thought to have been trained in the Italian workshops of the Holy Roman emperor Frederick II, who encouraged a Roman revival. Nicola's carved reliefs for the pulpit of the Pisa Baptistery were derived from figures on Roman sarcophagi in the Camposanto of Pisa. These carvings are outstanding for their assimilation of the solid, three-dimensional Roman style as well as for their corresponding emphasis on the individuality and dignity of the human figure. They mark a turning point in Italian sculpture analogous to that represented in painting by the work of Giotto. Nicola Pisano

Nicola Pisano (circa 1220-c. 1284). Pisano combined the classical style and proportions of Roman statue with the Christian motif. These carvings are outstanding for their assimilation of the solid, three- dimensional Roman style as well as for their corresponding emphasis on the individuality and dignity of the human figure. They mark a turning point in Italian sculpture analogous to that represented in painting by the work of Giotto. Nicola Pisano

A Chapel Built to be Painted Giotto Di Bondone, Interior of the Arena Chapel, Padua, Italy The “Arena Chapel” gets it name from the Roman amphitheater that is near by and was built for a local Paduan merchant named Enrico Scrovegni. The design of the building so perfectly fits the illusion that its is suggested that Giotto may have been the architect as well. The result of such a large “canvas” on which to paint was a complete pictorial cycle of Christian Redemption, created in 38 framed pictures on 3 levels. The top register contains images of Virgin Mary and her parents, the middle level contains imagery from the life and mission of Christ, and the bottom level depicts Christ’s Passion, Crucifixion, and Resurrection. The pictorial levels are on a neutral base with imitation marble veneer alternates with the virtues and vices painted in grisaille (monochrome grays, often used for modeling in painting) to resemble sculpture.

Enrico Scrovegni offers a model of the Chapel to the Virgin Mary in one of Giotto’s frescoes.

The ANNUNCIATION Archangel GABRIEL informs Mary that she will bear the baby Jesus. Dove represents the INCARNATION The VISITATION Mary visits cousin Elizabeth (who’s pregnant w/ St. John the Baptist)… Elizabeth 1 st to recognize divinity of baby The ADORATION Three Magi from the East present gifts to honor Jesus as King of the Jews… Gold (kingship), Frankincense (divinity) and Myrrh (Death) The RESURRECTION Three days after Christ dies, he walks from his tomb as the guards sleep. The ASCENSION 40 days after his resurrection, Christ ascends into heaven as his apostles (and sometimes the Virgin Mary) watch The LAMENTATION Mary and other bystanders mourn the body as Jesus Christ lays dead. The DEPOSITION Jesus’s dead body is being taken down from the cross.

The Illusion of Depth Giotto Di Bondone, Lamentation, ca Arena Chapel, Padua, Italy Chiaroscuro …the use of dramatic contrasts of dark and light to produce modeling

Giotto Di Bondone, Crucifixion, ca Arena Chapel, Padua, Italy

Giotto Di Bondone, The Flight Into Egypt, Arena Chapel ca Padua, Italy

Giotto Di Bondone, Homage of a Simple Man, ca St. Francis of Assisi, Italy

Church of St. Francis of Assisi Assisi, Italy 1228

Fourteenth Century Italy Duccio Di Buoninsegna, “Virgin and Child Enthroned with Saints” Principle panel of the Maesta alterpiece, from the Siena Cathedra, Siena, Italy, Tempera on wood panel Part of a large altarpiece called the Maesta, he carved his name into the base of the Virgin’s throne Depicts the Virgin enthroned as the Queen of Heaven amid angels and saints The composition’s formality, symmetry, and faces of the figures all come from Byzantine tradition but they are slightly relaxed - the faces on the figures are individualized and there movements are softened Part of a new naturalism, full of color, composition and texture manipulation The influence of China and the Middle East can be seen in the texture and composition of the fabrics that the figures are wearing.

Fourteenth Century Italy Duccio Di Buoninsegna, “Virgin and Child Enthroned with Saints” Principle panel of the Maesta alterpiece, from the Siena Cathedra, Siena, Italy, Tempra on wood panel

Betrayal of Jesus Duccio Di Buoninsegna, detail from the back of the Maesta altarpiece from the Siena Cathedral. Siena, Italy Notice the different expressions on the faces of those depicted in the piece. Peter’s anger is evident, while Judas shows malice toward Jesus, and the disciples show apprehension and timidity. This piece is representation of several episodes of Jesus’ betrayal, including the Kiss of Judas, the disciples fleeing in terror, and Peter cutting off the ear of the high priest’s servant. The golden sky remains traditional, however, the figures are not depicted as they were in earlier Byzantine art. Duccio gives the figures depth, emotion on their faces, and adorns them with clothing that drapes around them convincingly. The figures display a variety of emotions, reacting to what is happening around them.

Simone Martini (and possibly Lippo Memmi) Annunciation, 1333 Galleria degli Uffizi, Florence Martini’s own style did not quite reach the full exuberance of the developed International Style, A style of 14th- and 15th-century painting begun by Simone Martini, who adapted the French Gothic manner to Sienese art fused with influences from the North. This style appealed to the aristocracy because of its brilliant color, lavish costume, intricate ornament, and themes involving splendid processions of knights and ladies. Elegant shapes and radiant color: flowing, fluttering line; and weightless figures in a spaceless setting characterize the Annuciation. The complex etiquette of the European chivalric courts dictated the presentation. The angel Gabriel has just alighted, the breeze of his passage lifting his mantle, his iridescent wings still beating. The gold of his sumptuous gown heraldically represents the celestial realm whence he bears his message. The Virgin, putting down her book of devotions, shrinks demurely from Gabriel’s reverent genuflection, an appropriate gesture in the presence of royalty. Creating an “International Style” Lippo Memmi’s contribution is questioned and a matter of debate.

Betrayal of Jesus Duccio Di Buoninsegna, detail from the back of the Maesta altarpiece from the Siena Cathedral. Siena, Italy The Arrest of Jesus Matthew 26:47-56 While he was still speaking, Judas, one of the Twelve, arrived. With him was a large crowd armed with swords and clubs, sent from the chief priests and the elders of the people. Now the betrayer had arranged a signal with them: "The one I kiss is the man; arrest him." Going at once to Jesus, Judas said, "Greetings, Rabbi!" and kissed him. Jesus replied, "Friend, do what you came for." Then the men stepped forward, seized Jesus and arrested him. With that, one of Jesus' companions reached for his sword, drew it out and struck the servant of the high priest, cutting off his ear. "Put your sword back in its place," Jesus said to him, "for all who draw the sword will die by the sword. Do you think I cannot call on my Father, and he will at once put at my disposal more than twelve legions of angels? But how then would the Scriptures be fulfilled that say it must happen in this way?" At that time Jesus said to the crowd, "Am I leading a rebellion, that you have come out with swords and clubs to capture me? Every day I sat in the temple courts teaching, and you did not arrest me. But this has all taken place that the writings of the prophets might be fulfilled." Then all the disciples deserted him and fled.

Simone Martini and Lippo Memmi Annunciation, 1333 Galleria degli Uffizi, Florence Luke 1:26-56 (New International Version) The Birth of Jesus Foretold In the sixth month, God sent the angel Gabriel to Nazareth, a town in Galilee, to a virgin pledged to be married to a man named Joseph, a descendant of David. The virgin's name was Mary. The angel went to her and said, “Greetings, you who are highly favored! The Lord is with you.” Mary was greatly troubled at his words and wondered what kind of greeting this might be. But the angel said to her, “Do not be afraid, Mary, you have found favor with God. You will be with child and give birth to a son, and you are to give him the name Jesus. He will be great and will be called the Son of the Most High. The Lord God will give him the throne of his father David, and he will reign over the house of Jacob forever; his kingdom will never end.” “How will this be,” Mary asked the angel, “since I am a virgin?” The angel answered, “The Holy Spirit will come upon you, and the power of the Most High will overshadow you. So the holy one to be born will be called the Son of God. Even Elizabeth your relative is going to have a child in her old age, and she who was said to be barren is in her sixth month. For nothing is impossible with God.” “I am the Lord's servant,” Mary answered. “May it be to me as you have said.” Then the angel left her. Creating an “International Style”

Monumental Figures Giotto Di Bondone, Madonna Enthroned, ca. 1310, Galleria degli Uffizzi, Florence Giotto’s new form of painting displaced the Byzantine style and established painting as a major art form for the next six centuries. He is often credited as the father of Western pictorial art. He restored the naturalistic approach invented by the Romans, that was abandoned in the middle ages, and established a method of pictorial expression based on observation that might be called “early scientific”. Madonna is depicted in representational art with sculptural solidity and weight. Madonna, enthroned with angles, rests within her Gothic throne with the unshakable stability of an ancient marble goddess. His technique for such an aesthetic is called chiaroscuro. This art was aimed to construct a figure that had substance, dimensionality, and bulk. Works painted in this new style portray figures, like those in sculpture, that project into the light and give the illusion that they could cast shadows. In this painting the throne is deep enough to contain the monumental figure and breaks away from the flat ground to project and enclose her.

Ambrogio Lorenzetti Peaceful City, Siena Italy “Peaceful City” is a panoramic view of Siena, with its clustering palaces, markets, towers, chruches, streets, and walls. The city’s traffic moves peacefully, the guilds’ members ply their trades and crafts, and a cluster of radiant maidens, hand in hand, perform a graceful circling dance. The artist fondly observed the life of his city, and its architecture gave him an opportunity to apply Sienese artists’ rapidly growing knowledge of perspective. Visualizing Good Government

Cenni di Pepi (Cimabue) Crucifix ( ) Panel, 448 x 390 cm Basilica di Santa Croce, Florence Cimabue Florentine painter whose nickname means ‘Ox-Head’ Was considered one of the last of the ‘Greek Manner’ (aka BYZANTINE) style painters, and one of the 1 st to begin exploring natural features of the body thru painting Regarded as one of the best painters of the time, only to be overshadowed by his student Giotto

Cenni di Pepi (Cimabue) Madonna and Child Enthroned (1280) Tempera and Gold on Wood, Florence Cimabue Florentine painter whose nickname means ‘Ox-Head’ Was considered one of the last of the ‘Greek Manner’ (aka BYZANTINE) style painters, and one of the 1 st to begin exploring natural features of the body thru painting Regarded as one of the best painters of the time, only to be overshadowed by his student Giotto

CimabueGiotto

CIMABUE versus GIOTTO In Purgatorio 11, while commenting on the fleeting nature of artistic reputation, Dante notes that: "Cimabue once thought that he held the field in painting, and now Giotto has the praise, so much so that the other's fame is obscured." Why did Giotto so quickly surpass his teacher? Art historians have noted that while Cimabue began to break away from the Byzantine style of painting that had dominated Europe since the beginning of the Middle Ages, Giotto's innovations were much more radical and systematic. Giotto's use of perspective and his portrayal of figures as individuals, each with a distinctive personality, resulted in a realism that would have appealed to the fourteenth-century Florentine middle class."

Unlike most Byzantine art, both of the two paintings below use perspective (a hallmark of Renaissance art) to represent three-dimensional space. The throne in Cimabue's painting sits on a curved platform. In Giotto's painting, on the other hand, the three dimensional throne above the Madonna's head not only adds depth but also projects the figure toward the viewer. Giotto's Mary is also more firmly anchored to the ground, while Cimabue's Mary seems almost to float in space. Cimabue Giotto

In the first painting, Mary, Jesus, and the angels are painted without much attention to individual physiognomy or expression. Each of the angels on the left has an almost identical counterpart on the right. The four apostles depicted at the bottom of the painting are much more individualized in their features and poses. In Giotto's painting, Mary, Jesus, and the angels are all different from each other. The angels are still symmetrically arranged, but each angel on the left is subtly different in expression from its counterpart on the right. The Holy Mother is holding her Son in a much more realistic position. Cimabue Giotto

REVIEW TIME!

Duccio, “Virgin and Child Enthroned with Saints” Principle panel of the Maesta alterpiece, from the Siena Cathedra, Siena, Italy, Tempra on wood panel LATE GOTHIC / PROTO-RENAISSANCE

Duccio, The Arrest of Jesus, (detail from back of the Maesta altarpiece). Siena, Italy LATE GOTHIC / PROTO-RENAISSANCE

Simone Martini, Annunciation, LATE GOTHIC / PROTO-RENAISSANCE

Giotto Madonna Enthroned ca LATE GOTHIC / PROTO-RENAISSANCE

Ambrogio Lorenzetti Peaceful City, LATE GOTHIC / PROTO-RENAISSANCE

Cimabue Madonna and Child Enthroned Tempera and Gold on Wood 1280 LATE GOTHIC / PROTO- RENAISSANCE

Giotto Interior of the Arena Chapel, Padua, Italy LATE GOTHIC / PROTO- RENAISSANCE

Giotto Lamentation, ca Arena Chapel, Padua, Italy LATE GOTHIC / PROTO-RENAISSANCE

Nicola Pisano Baptistry Pulpit, ca LATE GOTHIC / PROTO-RENAISSANCE