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Pittura Gotica LICEO SCIENTIFICO N. COPERNICO Classe 3AL anno scolastico 2017/2018 LA PITTURA GOTICA Gruppo di lavoro: Calamai Martina Cecchi Giulia Desii Niccolò Incarbona Benedetta Magnini Alessandra prof. Claudio Puccetti LA PITTURA GOTICA LA SCUOLA FIORENTINA CIMABUE GIOTTO LA SCUOLA SENESE DUCCIO DI BUONINSEGNA SIMONE MARTINI AMBROGIO E P I E T R O LORENZETTI Le caratteristiche della pittura gotica Ha un suo spazio Non è subordinata all’architettura Scopo: educare il fedele Temi principalmente sacri (Bibbia) Opere commissionate dal clero Difficile distaccamento iniziale dalla tradizione Maggior naturalismo Attenzione per la figura umana La scuola fiorentina e la scuola senese Corrente fiorentina (Cimabue) Corrente senese (Duccio) Pochi colori, ma contrastanti Colori molto luminosi timbrici e vari Forme disposte per suggerire la Il volume non viene evidenziato profondità Attenzione ai particolari Volume più reale, più fisico Assenza elementi che suggeriscono la Struttura più architettonica profondità Forme più sintetiche Non c’è chiaroscuro Chiaroscuro forte > evidenzia il La linea più libera volume La linea agisce in rapporto al volume CIMABUE (1240 ca – 1302) CIMABUE - Crocifisso Arezzo, Chiesa San Domenico Il corpo si flette, dando maggior senso di volume Volto addolorato e all’orientale Indumento copre le nudità CIMABUE (1240 ca – 1302) CIMABUE (1240 ca – 1302) CIMABUE - Crocifisso Firenze, Chiesa Santa Croce Naturalismo nella posizione Panno quasi trasparente; si intravedono le linee del corpo Novità più accentuate Oro: richiesta del clero CIMABUE (1240 ca – 1302) CIMABUE - La Maestà di Santa Trinita Madonna col bambino Statico, occhi rivolti all’osservatore Parte inferiore: senso di spazio e profondità Parte superiore: angeli si ripetono in modo stereotipato CIMABUE (1240 ca – 1302) CIMABUE Crocifissione, Assisi GIOTTO(1267 – 1337) BASILICA ASSISI - Affreschi di Giotto a partire dal 1296 GIOTTO(1267 – 1337) GIOTTO – Il dono del mantello Rappresentazione e prospettiva naturalistica Colori primari; grandi campiture Volume grazie al chiaro - scuro GIOTTO(1267 – 1337) GIOTTO – Il dono del mantello GIOTTO – Il dono del mantello (schema) (particolare) GIOTTO(1267 – 1337) GIOTTO - La rinuncia ai beni Inizio dell’umanesimo San Francesco: tipo di tutti i santi GIOTTO(1267 – 1337) CAPPELLA DEGLI SCROVEGNI GIOTTO(1267 – 1337) GIOTTO - Compianto sul Cristo morto Dramma evidente Chiaro - scuro Forte senso espressivo GIOTTO(1267 – 1337) GIOTTO - Compianto sul Cristo morto (schema) DUCCIO DA BUONINSEGNA(1255 – 1318) DUCCIO DA BUONINSEGNA Madonna Rucellai Opera periodo giovanile Angeli non in prospettiva Volti dolci ma inespressivi Opera equilibrata per la disposizione dei colori DUCCIO DA BUONINSEGNA(1255 – 1318) DUCCIO DA BUONINSEGNA - Maestà di Siena Madonna con bambino in maestà, attorniata da una schiera di Angeli e Santi DUCCIO DA BUONINSEGNA(1255 – 1318) Faccia posteriore “Maestà di Siena” Sono dipinti vari episodi della vita e della passione di Cristo SIMONE MARTINI(1284 – 1344) SIMONE MARTINI – La Maestà, palazzo civico Siena Laicità della scena Sguardo Madonna diretto verso un punto non preciso Santi protettori di Siena e due Angeli SIMONE MARTINI(1284 – 1344) SIMONE MARTINI Cappella San Martino, Assisi Investitura di San Martino a cavaliere Precisione della rappresentazione Architettura e spazialità SIMONE MARTINI(1284 – 1344) SIMONE MARTINI San Ludovico di Tolosa Fondo oro: matrice bizantina Linea sinuosa e decorativa Predella suddivisa in 5 parti SIMONE MARTINI(1284 – 1344) SIMONE MARTINI Annunciazione Pala centrale e due scomparti laterali Sfondo oro Suddiviso in 3 piani SIMONE MARTINI(1284 – 1344) SIMONE MARTINI - Annunciazione, particolari SIMONE MARTINI(1284 – 1344) SIMONE MARTINI - Schema della rappresentazione AMBROGIO LORENZETTI(1285 ca. – 1348) AMBROGIO LORENZETTI – Allegoria del buon governo Celebrazione classe oligarchia senese Teorie filosofiche Ideale governo giusto AMBROGIO LORENZETTI(1285 ca. – 1348) AMBROGIO LORENZETTI – Effetti del buon governo nella città Assenza di realismo Edifici innaturali e massicci AMBROGIO LORENZETTI(1285 ca. – 1348) AMBROGIO LORENZETTI – Allegoria del cattivo governo AMBROGIO LORENZETTI(1285 ca. – 1348) AMBROGIO LORENZETTI Annunciazione, Siena Le due figure sono separate Grande liricità Fondo oro AMBROGIO LORENZETTI(1285 ca. – 1348) AMBROGIO LORENZETTI Annunciazione, Siena PIETRO LORENZETTI(1285 ca – 1348) PIETRO LORENZETTI Compianto sul Cristo Morto PIETRO LORENZETTI(1285 ca – 1348) PIETRO LORENZETTI Particolare “Compianto sul Cristo morto” PIETRO LORENZETTI(1285 ca – 1348) PIETRO LORENZETTI Nascita della Vergine La pittura gotica Grazie per la vostra attenzione! .
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