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Western Painting Renaissance I Eastern Europe / Western Europe Introduction to Art Historical Research: Western Painting Renaissance I NTNU Graduate Institute of Art History September 23th 2009 ©2009 Dr Valentin Nussbaum, Associate Professor Eastern Europe / Western Europe •! Cult of images (icons) •! Culte of relics •! During the Middle Ages, images in Western Europe have a didactical purpose. They are pedagogical tools Conques, Abbatiale Sainte-Foy, Portail occidental, deuxième quart du 12ème s. 1 San Gimignano, view of the towers erected during the struggles between Ghelphs and Ghibellines factions (supporting respectively the Pope and the Holy Roman Emperor, ca. 1300 Bologne, The Asinelli and Garisenda Towers (height 98 metres) , 13th C. 2 Escorial. Codex T.I.1, fol. 50, Cantigas of Alfonso I, 13th C. Siena, Piazza del Campo with the Public Palace 3 Siena, (the Duomo (Cathedral and the Piazza del Campo with the Public Palace) Duccio di Buoninsegna, Polyptich No. 28, c. 1300-05, Tempera on wood 128 x 234 cm, Pinacoteca Nazionale, Siena 4 Ambrogio Lorenzetti, Altarpiece of St Proculus, 1332, 167 x 56 cm central panel and 145 x 43 cm each side panels, Galleria degli Uffizi, Florence Ambrogio Lorenzetti, Madonna and Child with Mary Magdalene and St Dorothea, c. 1325, (90 x 53 cm central panel 88 x 39 cm each side panels), Pinacoteca Nazionae, Siena 5 Duccio di Buoninsegna, Polyptich No. 28, c. 1300-05, Tempera on wood 128 x 234 cm, Pinacoteca Nazionae, Siena Ambrogio Lorenzetti, Madonna and Child with Mary Magdalene and St Dorothea, c. 1325, (90 x 53 cm central panel 88 x 39 cm each side panels), Pinacoteca Nazionae, Siena Duccio, Maestà, (front) 1308-1311, Tempera on wood, 214 x 412 cm, Museo dell’Opera, Siena 6 Duccio, Maestà, 1308-1311, Museo dell’Opera, Siena, conjectural reconstruction Duccio, Maestà, (back) 1308-1311, Museo dell’Opera, Siena 7 Duccio, Maestà, (back) 1308-1311, Museo dell’Opera, Siena, conjectural reconstruction Theophanes the Greek, Iconostasis, 1405, Cathedral of the Annunciation, Kremlin, Moscow 8 Iconostasis, Uglich Cathedral Duccio, Maestà: detail of the Arrest of Christ, 1302-1311, Tempera on wood, 51 x 76 cm, Museo dell’ Opera del Duomo, Siena 9 Duccio, Maestà: detail of the Arrest of Christ, 1302-1311, Siena Duccio, Maestà: detail of the Passion (Jesus before Annas and Peter Denying Jesus) 1308-1311, Tempera on wood, 99 x 53,5 cm, Siena 10 Cimabue, The Burial of Christ (detail of the Maestà), 1308-1311, Tempera on wood, 41 x 54,5 cm, Museo dell’Opera, Siena Giotto, Scrovegni Chapel, 1303-1305, Padova, view from the entrance 11 Giotto, Scrovegni Chapel: detail of he Arrest of Christ, Fresco, 200 x 185 cm 12 Giotto Duccio Giotto, Scrovegni Chapel : detail of the Mourning of Christ, Fresco, 200 x 185 cm 13 Giotto, Scrovegni Chapel : detail of the Mourning of Christ, Fresco, 200 x 185 cm Giotto Duccio 14 Florence, (Palace of the Signoria, Baptisterium and the Duomo (Cathedral)) 15 16 Lorenzo Ghiberti, Saint John the Baptist, 1414, 255 Donatello, Saint Mark, 1411-1414, 236 cm, Donatello, Saint George, ca.1417, 210 cm cm, cm, Orsanmichele, Florence Orsanmichele, Florence Bargello, Florence Lorenzo Ghiberti, Saint John the Baptist, 1414, 255 cm, Orsanmichele, Florence 17 Donatello, Saint Mark, 1411-1414, 236 cm, Orsanmichele, Florence Donatello, Saint George, ca.1417, 210 cm cm, Bargello, Florence 18 Lorenzo Ghiberti, Saint John the Baptist, 1414, 255 Donatello, Saint Mark, 1411-1414, 236 cm, Donatello, Saint George, ca.1417, 210 cm cm, cm, Orsanmichele, Florence Orsanmichele, Florence Bargello, Florence Fra Angelico, Tabernacle off the Arte dei Lianioli, ca.1433 Museo San Marco, Florence 19 Donatello, Banquet d’Hérode, 1427, Baptistère, Sienne Reconstitution of Filippo Brunelleschi’s experience (made around 1416) 20 Fra Angelico, Pala di San Marco, ca.1438, Tempera on wood, 220 x 227 cm, Museo San Marc, Florence Fra Angelico, Pala di San Marco, ca. 1438, Tempera on wood, 220 x 227 cm, Museo San Marc, Florence 21 Domenico Veneziano, Sacra Conversazione, ca.1445, Tempera on wood, 209 x 216 cm, Uffizi, Florence Sienese School, Virgin with Child and Saints, 1300-1350 22 Domenico Veneziano, Sacra Conversazione, ca.1445, Uffizi, Sienese School, Virgin with Child and Saints, 1300-1350 Florence Filippo Lippi, Annunciation, around 1440, Martelli Chapel, San Lorenzo, Florence 23 Ambrogio Lorenzetti, Annunciation, 1334, Academia, Siena 24 Filippo Brunelleschi, San Lorenzo, around 1421-1426 / 1442-1461, Florence San Lorenzo, Florence Santa Croce, Florence 25 “The most captivating and imaginative painter to have lived since Giotto would certainly have been Paolo Uccello, if only he had spent as much time on human figures and animals, as he spent, and wasted, on the finer points of perspective. (…) Artists who devote more attention to perspective than to figures develop a dry and angular style because of their anxiety to examine things too minutely; and, moreover, they usually end up solitary, eccentric, melancholy, and poor, as indeed did Paolo Uccello himself.” (…) “His wife told people that Paolo used to stay up all night in his study, trying to work out the vanishing points of his perspective, and that when she called him to come to bed he would say: “Oh what a lovely thing this perspective is!” And indeed, if perspective was dear to Uccello it also proved, thanks to his works, attractive and rewarding to those who have used it since.” Giorgio Vasari, The Lives of Artists, 1568 Paolo Uccello, Funerary Monument of Sir John Hawkwood, ca.1450, Fresco, 820 x 515 cm, Duomo, Florence 26 Paolo Uccello, Battle of San Romano Niccolo da Tolentiuno leads the Florentine troops, ca.1450, Tempera on wood, 182 x 320 cm, National Gallery, London Bayeux Tapestry, Cathedral, ca. 1077-1082, (50 cm x 70 m.) 27 28 Morgan Bible M638, David instructing Joab, David Fights the Ammonites and Syrians / Battle against Shobach, fol. 41r, Morgan Pierpoint Library, New York Paolo Uccello, Battle of San Romano Niccolo da Tolentiuno leads the Florentine troops, ca. 1450, Tempera on wood, 182 x 320 cm, National Gallery, London 29 Paolo Uccello, Battle of San Romano Bernardino della Ciarda Thrown off his Horse, ca.1450, Tempera on wood, 182 x 220 cm, Uffizi, Florence Paolo Uccello, Battle of San Romano Bernardino della Ciarda Thrown off his Horse, ca.1450, Tempera on wood, 182 x 220 cm, Uffizi, Florence 30 Paolo Uccello, Battle of San Romano Bernardino della Ciarda Thrown off his Horse, ca.1450, Tempera on wood, 182 x 220 cm, Uffizi, Florence Paolo Uccello, Battle of San Romano Bernardino della Ciarda Thrown off his Horse, ca.1450, Tempera on wood, 182 x 220 cm, Uffizi, Florence 31 Paolo Uccello, Battle of San Romano Micheletto da Cotignola Engages in Battle, ca.1450, Tempera on wood, 180 x 316 cm, Louvre, Paris Paolo Uccello, The Hunt in the Forest, ca.1465-70, Ashmolean Museum, Oxford 32 Perspectival econstitutions of Uccello’s Hunt in the Forest Paolo Uccello, The Hunt in the Forest, ca.1465-70, Ashmolean Museum, Oxford (detail) 33 Paolo Uccello, The Hunt in the Forest, ca.1465-70, Ashmolean Museum, Oxford (detail) Paolo Uccello, The Hunt in the Forest, ca.1465-70, Ashmolean Museum, Oxford (detail) 34 « And Fra Bartolomeo thus returned to Florence where it had often in the past alleged that he did not know how to paint nudes. For this reason, he wanted to prve himself and to show through his efforts that he was utterly competent as anyone else in all excellent work of painting. So for proof of this, he did a picture of St Sebastian, naked, very realistic in the colouring of his flesh, who has an air of great charm, and whose body was likewise executed with corresponding beauty. This won him endless praise among craftsmen. It is said that when this painting was put on show in the church, after the friars had found women in confession who on looking at it had sinned through the captivating and sensuous resemblance of a living figure given to it by Fra Bartolommeo’s talent, they removed it from the church and sent it to the chapter-house, where it did not remain long before it was bought by Giovan Battista della Pala and sent to the King of France. » Giorgio Vasari, Lives of the Artists, 1568 Zacchia Il Vecchio (copy of Fra Bartolomeo, 1514, Convent of San Francesco, Fiesole), Saint Sebastian, 1526 Andrea Mantegna, Saint Sebastian, 1457-58, Tempera on Andrea Mantegna, Saint Sebastian, 1457-58, Tempera wood, 68 x 30 cm, Kunsthistorisches Museum, Vienna on canvas, 255 x 140 cm, Louvre, Paris 35 Andrea Mantegna, Saint Sebastian, 1457-58, Temopera on wood, 68 x 30 cm Kunsthistorisches Museum, Vienna Andrea Mantegna, Saint Sebastian, 1457-58, Louvre, Paris 36 Andrea Mantegna, Saint Sebastian, 1457-58, Kunsthistorisches Museum, Vienna Andrea Mantegna, Saint Sebastian, 1457-58, Louvre, Paris 37 Andrea Mantegna, Dead Christ, ca.1490, Tempera on canvas, 68 x 81 cm, Pinacoteca Brera, Milan Andrea Mantegna, Dead Christ, around 1490, Pinacoteca Brera, Milan Jacopo Bellini, Dormition of the Virgin, ca. 1450, Louvre, Paris 38 .
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