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Pietro Cavallini, Nacimiento De La Virgen, 1291 Santa María In La política en Italia • Italia como tal no existió hasta finales del siglo diecinueve. • El territorio de la península estaba dividido entre varias formas de gobierno: • Repúblicas como Venecia, Florencia y Siena • Monarquías como Nápoles, Milán y principados del Norte • Los Estados Papales, bajo la autoridad terrenal del Papa Giotto di Bondone • Nacido en Vespignano en 1266-7 y muerto en 1337 • Vasari empieza sus Vidas con la figura de Cimabue, maestro de Giotto di Bondone • El comienzo de Vasari refleja la gran importancia que le da éste a la región de Florencia • También refleja la tremenda fama que ganó Giotto en vida, pues es mencionado tanto por Bocaccio en el Decameron, como por Dante • Entre sus obras principales están La Capilla de la Arena en Padua y los frescos de Santa Croce en Florencia • Antiguamente se le atribuían también los Frescos de la Iglesia de San Francisco en Assissi, pero hoy en día estas obras se cree que son producto de otros artistas Capilla de la Arena, 1305-1306 • La vida de Joaquín, padre de la Virgen se presenta frente por frente a la Vida de la Virgen. Escenas análogas quedan unas frente a las otras • En la pared del altar se aprovecha una ventana para comunicar la llegada de la Gracia divina al mundo y esta llegada de la salvación se contrapone al Juicio final, tema que se encuentra en la entrada de la Capilla y que se ve al salir de la misma • Los techos están decorados de azúl, con estrellas y medallones con santos y vírgenes Capilla de la Arena mirando hacia el altar, 1305-6 Padua El nacimiento de la Virgen y El Encuentro en la puerta dorada La presentación de María en el templo y El sueño de San Joaquín The Bringing of the Rods y El sacrificio de San Joaquín Los pretendientes de la Virgen y La anunciación a Santa Ana El matrimonio de la Virgen y San Joaquín entre los pastores La procesión nupcial y El rechazo del Sacrificio de San Joaquín La encomienda al Arcángel Gabriel Imágenes del arco del Altar La entrega de Cristo y La visitación Cristo entre los doctores y Jesús Camino al Monte Calvario El Bautismo de Cristo y La Crucifixión Las Bodas de Caná y La lamentación La resurrección de Lázaro y La resurrección de Jesús La entrada a Jerusalem y La Ascención La expulsión de los mercaderes del templo y Pentecostés Los salvados y los Condenados La donación de la Capilla por Scrovegni Repaso conceptual • La mayoría de los artistas del Renacimiento no escogían sus temas. Los temas tratados en el Renacimiento son similares, si no iguales a los del arte medieval. • Iconografía quiere decir escribir con imágenes. Es poder representar las figuras y escenas bíblicas de tal manera que sean reconocibles instantáneamente. • Anagogía es la práctica de yuxtaponer escenas (nuevo testamento vs. viejo testamento, o escenas del nuevo testamento contrastadas entre sí) para producir prefiguraciones (cosas que van a pasar se anuncian) o significados místicos. • Los frescos son obras “site-specific”, creadas para un lugar en concreto y a menudo toman en cuenta las características arquitectónicas y lumínicas de su entorno. Problemas suscitados por la figura de Giotto • Vasari nos dice que hasta los diez años Giotto fue pastor de ovejas • Que lo descubre Cimabue que lo lleva a Florencia • Que todo lo aprendió de la naturaleza • Que su fama llegó a ser tal que no sólo tuvo discípulos y un atelier, sino también se erigió una estatua en su honor en Santa María dei Fiori, Florencia • El problema que presenta este cuadro es: la naturaleza es una explicación suficiente para el cambio estético que propone Giotto? • En qué radica este cambio, que Vasari no sabe precisar pero que sus contemporáneos supieron identificar como algo espectacular? Cimabue, Crucifijo, 1268-71 Témpera sobre panel Comparación con un ícono bizantino Comparación con el tímpano de la Iglesia de Saint Pierre Beaulieu sur Dordogne, 1140 a.D. Giotto di Bondone, Crucifijo, 1317 Témpera sobre panel Giotto, Madonna Ognisanti, 1310 Témpera sobre panel Comparación con Maestá de Cimabue, 1285-86 Pietro Cavallini, Nacimiento de la Virgen, 1291 Santa María in Trastevere, Roma Pietro Cavallini, Juicio Final, 1290s Santa Cecilia in Trastevere, Roma Pietro Cavallini, Juicio Final, 1290s Santa Cecilia in Trastevere, Roma Pietro Cavallini, Juicio Final, 1290s Santa Cecilia in Trastevere, Roma Comparación con relieve del coro de la Catedral de Nuremberg, c. 1240-50 Comparación con el fresco de La Captura de Jesús en la Iglesia de San Francisco en Assissi por Cimabue Santa Croce La iglesia de Santa Croce es la basílica franciscana más grande de Italia. Construída alrededor de 1290 y atribuida a Arnolfo di Cambio, su fachada permaneció sin terminar hasta el siglo dieciocho. Santa Croce era una iglesia impresionante con 28 capillas. Hoy en día algunas de las figuras más célebres del Renacimiento Italiano, como Miguel Angel, están enterrados allí. A Giotto se le atribuye la decoración de dos capillas: La Capilla Bardi y la Capilla Peruzzi alrededor de 1320. Ambas sufrieron daños extensos a lo largo de los siglos. Capillas Bardi y Peruzzi en el transepto de Santa Croce Capilla Bardi En la Capilla Bardi el tema es la vida de San Francisco. Esto hace sentido porque se trata de una iglesia Franciscana, pero también porque el movimiento franciscano consistió en una verdadera renovación religiosa en la Italia del siglo trece y catorce. En la pared izquierda encontramos escenas de la vida de San Francisco como San Francisco recibe la stigmata Aparición en Arles Muerte y ascención de San Francisco Confirmación de la orden Temas de la pared derecha de la Capilla Bardi. Los frescos de la Capilla Bardi fueron pintados por encima y redescubiertos en el siglo diecinueve. Eso y las inundaciones de los noventa explican el extraordinario daño que han sufrido las imágenes, en especial algunas en donde la pérdida de pigmento fue ocultada con una nueva capa de yeso, creando puntos ciegos en la imagen. San Francisco Frente al Sultán Ascención de San Francisco Capilla Peruzzi La Capilla Peruzzi fue comisionada por Juan Peruzzi. Tiene una iconografía inusual: la mitad está dedicada a San Juan evangelista, patrono de la ciudad de Florencia, la otra mitad a San Juan evangelista , su santo patrono. La iconografía habla de motivos patrióticos y personales para comisionar esta obra. San Juan el Bautista, La fiesta de Herodes Nacimiento del Bautista San Juan evangelista en la Isla de Patmos Resurrección de Drusiana Asunción del Evangelista El encuentro en la puerta dorada Herodes y la Masacre de los santos inocentes La entrada a Jerusalem La resurrección de Lázaro Resumen • Es posible que Giotto haya visto la obra de Pietro Cavallini, quien a su vez, al trabajar en Roma, tenía mayor acceso a las obras de la Antiguedad Greco- Romana • Giotto diverge de la tradición bizantina tanto en el tipo físico, como el volumen de las figuras y la carga emocional de su historia • Su fama en vida tiene mucho que ver con su extraordinaria capacidad para contar historias mediante composición, caracterización y observación de detalles. Por último, Giotto muestra una preocupación por la profundidad espacial que es una de las constantes en el arte del temprano renacimiento.
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