Western Painting Renaissance I Eastern Europe / Western Europe

Home , Domenico Veneziano, Saint Mark (Donatello)

Introduction to Art Historical Research: Western Painting Renaissance I

NTNU Graduate Institute of Art History September 23th 2009

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