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 form of 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 Figure 19-7 The 14th Century in Italy

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. The design of the building so perfectly fits the illusion that its is suggested that Giotto may have been the architect as well. The rectangular barrel-vaulted hall has six narrow windows in its south wall only, which left the entire north wall an unbroken and well- illuminated surface for painting. 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 level 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 grisaill (monochrome grays, often used for modeling in painting) to resemble sculpture The ceiling is blue, an azure sky symbolic of heaven, the same blue is found in the backgrounds of the panels and acts as a unifying effect. The borders are complex and contrast the simple images they surround The figures are sculpturesque, simple, and weighty, but this mass does not preclude motion and emotion with postures and gestures expressing a broad spectrum of grief Figure 19-8 The 14th Century in Italy

The Illusion of Depth Giotto Di Bondone, Lamentation, ca Arena Chapel, Padua, Italy This single image from the Chapel embodies the integration of formality with emotional composition never achieved before Giotto The figures are grouped within a constructed space and each group has its own definition contributing to the rhythmic order of the composition The new spatial depth and bodily mass could not have been achieved without the management of shade and light. The figures are shaded to indicate both the direction of the light that illuminates them and the shadows -The stage like setting was made possible by Giotto’s innovations in perspective and lighting Chiaroscuro- the use of dramatic contrasts of dark and light to produce modeling Linear Perspective- the depiction of three- dimensional objects in space on a two dimensional surface Figure 19-9 The 14th Century in Italy

The “Most Beautiful” Tuscan Church Arnolfo di Cambio Florence Cathedral (view from the South) Florence, Italy. begun 1296 Figure The Florence Cathedral was recognized as the center of the most important religious observances in Florence. It was begun in 1296 by Arnolfo di Cambio and was intended to be the “most beautiful and honorable church in Tuscany.” It certainly was a visual delight as it towered over the city and gleamed in the sunlight of Florence. Businessmen traveling to this city saw this cathedral, and the impression was made Any city with such a work of art had to be wealthy! The building’s surfaces were ornamented in the old Tuscan fashion, with marble-encrusted geometric designs matching it to its eleventh-century Romanesque Baptistery of San Giovanni. The Cathedral focuses on horizontal aspects, rather than lifting itself off the ground much like the Cologne Cathedral. The top dome has a crisp, closed silhouette that sets it off emphatically against the sky behind it. The interior was kept minimal in order to remain “humble” to God. The 14th Century in Italy

Extraordinary Exterior, Simple Interior Nave of Florence Cathedral (view facing east) Florence, Italy. begun 1296 The nave of the Florence Cathedral appears to have been added to the crossing complex as an afterthought; however, the nave was built first. The nave is the area that leads to the area beneath the dome, which is the design’s focal point. The Florence nave bays (shown in this photo) are twice as deep as those of Amiens, and the wide arcades permit the shallow aisles to become part of the central nave, thus resulting in an interior of unmatched spaciousness. As on the outside of the Cathedral, the accents are on the horizontal aspects. The substantial capitals of the piers prevent them from soaring into the vaults and emphasize their function as supporters. Figure The 14th Century in Italy

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 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 compositions 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 The 14th Century in Italy Figure 19-16

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 Figure The 14th Century in Italy

Betrayal of Jesus Duccio Di Buoninsegna, detail from the back of the Maesta altarpiece from the Siena Cathedral. Siena, Italy Image goes here Delete this text before placing the image here. 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. Figure The 14th Century in Italy

Betrayal of Jesus Duccio Di Buoninsegna, detail from the back of the Maesta altarpiece from the Siena Cathedral. Siena, Italy Image goes here Delete this text before placing the image here. 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?" Figure The 14th Century in Italy 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 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. Image goes here Delete this text before placing the image here. Figure Creating an “International Style” The 14th Century in Italy Lippo Memmi’s contribution is questioned and a matter of debate.

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. Figure Creating an “International Style” The 14th Century in Italy

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. Image goes here Delete this text before placing the image here. Figure Visualizing Good Government The 14th Century in Italy