Giotto, Frescoes, Arena Chapel, Padua, 1305-06 Padua is a center for revival because of the university, interest in talent and fame Patron: Enrico Scrovegni - Wealthy banker, money lender - Build a private chapel - Father was a sinner, usury – considered a mortal sin - Builds this chapel as an act of atonement, repenting his sins, saves his reputation and his soul - Good ex of someone that has the power to shape his identity in society - The intended function of the work is not always the accepted, says the piece is more a work of than spirituality Giotto was taught in the byzantine style but then breaks free Chapel - Barrel style - Blue, unifying the whole thing (byzantine is very gold, looks much more naturalistic) - Fresco technique (painting directly on the walls) o Giotto uses the wet frescoe (lasts longer) . Great ordeal involving covering your work with wet plaster and painting each section in separate days (apprentices often paint the sky or something easy to help out) - Joachim (jesus’ grandfather) Christ’s ancestry o Upright citizen of jeruselem, not able to have children so he goes out into the wilderness to pray, comes across shepherds o Joachim takes refuge in the wilderness . Giotto takes a sort of psychological depth, uses pose and gestures  Faces are very expresses . Colors and setting make it look like a theatre set, pushing the narrative into our faces  Animals coming out, recognizing the truth while shepherds are very apprehensive o Joachim and Anna at the Golden Gate . Joachim rushing into city, Anna rushing into wilderness and they meet  Moment of tenderness, oblivious to everyone else, overcome by this moment of good fortune  Subplot: women + widow(foreshadowing jesus’ death) o Shepherd is cut off (symbolizes that he is coming from a different space) o Architecture – scale emphazes the story, heightens the drama o Annunciation – Theatrical . Mary receiving the message that she is pregnant o Arrest of Christ (kiss of Judas) . Judas is one of Jesus’ followers, he then betrays Christ  The kissing of jesus, a lot of tension . The figure in the front is showing conflicting emotions . Much chaos in the background but they are being blocked by other figures, focusing on the main plot  Ranging of emotions and reactions drawing our eyes to Jesus and Judas o Brings us into the narrative, very human story, coming into our space and time, engaging the viewer as though you were a participant in the story  Using motion and emotion to stir the viewer, ultimately changing the viewer with direct emotional appeal o Lamentation . Jesus has been crucified, Mary and the decibels mourning the death of Christ . Lost something and they are hugely disappointed by this  Complete expression of grief . All angles point towards Jesus  Dynamism, shallow stage set again . Cloaked figure, the previous foreshadowing reappearing . Single dead tree – symbolism for his death . Tree of life, bringing back to Adam and Eve, when jesus dies sins arise from the dry tree o The Last Judgement . Relating back to medevil church, as you leave you see that Christ will return to come and judge you . Hell is at the side with people being tortured  Very chaotic, big devil figure eating people and defecating them out . Angel rolling up the painting reminding us of the representation, byzantine gold is showed, brings us back to reality . Enrico Scrovegni – salvaging his reputation. Giotto earned fame and build his career quite dif from the byzantine style - Dante, Divine Comedy (c. 1308-21) o Cimabue believed that he held the field. In painting and now Giotto has the cry, So that the frame of former - Boccaccio, Decameron (1350) o “Giotto brought back to light the art of painting that for many centuries has been buried under the errors of some who painted more to delight the eyes of the ignorant than to please the intellect of the wise”

Allegories of Good and Bad Government by Ambrogio Lorenzetti, Palazzo Pubblico (Town Hall) of Siena, 1338-39 - Sienna, a very prosperous place o Democratic government (commune) o Based on the classical ideal of democratic government o Power is shared among a few people for a two month term for each member of government (constantly rotating) o The viewership is the civic official as well as local and foreign delegations, presents the good government of Siena o Not much religious symbol, much more civic/political o Shift in patronage o The town hall (1298) = growing importance of the government - The first thing you see is a representation of bad government and then you are reassured by the presence of the nine that there is good government o Bad gov . Justice is in chains, Devil figure rep. tyrannical system, surrounding figures rep. other aspects of a bad government . Allegory – human figures to represent abstract concepts . Democracy defines itself in opposition to this one man rule . Destroyed building = effects of bad gov. . Effects of bad gov on the countryside, over run by violence o Good Gov. . Allegory – Justice is quite dominant, King rep. commune of sienna surrounding by 6 female virtues (peace, generosity, temperance) . King resembles Christ, familiarizes the viewer h/e introduces politics . Citizens hold a cord rep. peace & good deeds  Clever visual of a good gov. (everyone pulls together, important in a democracy)  Figures are very solid, all men, very prosperous  Medevil idium as well as giotto esque . Effects of good gov on city  Commerce = prosperous  Building up the city  Filled with activity  Different class groups all together . Countryside  People going to hunt  Peasants working land  Goods going into city  Seen through urban eyes, they need a prosperous countryside (where their food comes from)  Personification of secrutity flying over the people o Visual warning Duomo (Cathedral of ) - Begun before the plague (1296) - The civic officials proposed a new church that would be large enough to have the entire population of the city within the church - Challenge for the civic government because of the plague - Wanted to build the largest dome in the world at the time o – people’s ability to figure out such a project - Architects and artists would submit plans - Giotto – the bell tower (Campanile) of Florence Cathedral, 1334 o Fresco painter working as a full fledged architect o Looks like tower of Pizze o Theme of competitiveness between cities - Chose Giotto to be the head of this project, his identity very connected to the identity of Florence Filippo Brunelleschi, Dome of Florence Cathedral, 1417-36 - Sets Florence up as a center for artistic wealth and architectural genius - Leon Battisa Allberti in his treatise On Painting of 1436 says that the dome was, “vast enough to cover the entire Tuscan people in its shadow” - Religious monument but also an important civic monument also a monument to Brunelleschi

Or San Michele, Florence - Multi purpose building o Functioned as the wheat exchange o Important Religious site . People would pray to the picture of the virgin Mary o Guild – union . Oversees training . Only way you can practice a trade was to be in the guild . To be in politics you must be apart of the guild . Major guilds – bankers, wool traders . Political pressure put on the guilds . Niches held sculptures of the patron within the guilds - Project shaped by political pressure - Competition between artists that spurs innovation

Ghiberti, John the Baptist, 1412 vs. Donatello, St Mark, 1411-12 - Bronze vs. marble o Bronze = more expensive, more difficult to work with . Commissioned by the cloth finishers, they wanted the largest work of bronze ever created . Stylized drapery o Marble gives you more of a sense of the body, more . Gothic style, known for the gothic sway . Done for a minor guild, linen workers . Less expensive . More posed . Face is much less stern, more attention to the actual body (muscles, veins etc) . Nanni di Banco, Four Crowed Martyrs, 1410-1413 - Stone carvers guild (minor) - Artist is a member of said guild - Predella Panel o Florentine workshop, clever way that he reminds the viewer of sculptors in the city - Saints blessing work of sculptors - Four figures taking a principle stand, refusing o Dies for their faith (martyr) o Plays with fabric and cloth - Public works of art at street level o Draw you into the conversation, psychological exchange with the viewer o Citizenship – doing what their doing out of their conviction o Model for the guild members as well

Donatello’s St. George, 1415-1417 - Guild is the armorers and sword makers (minor) - Work done in marble - Build shield and armor, Sword = very confrontational for the viewer - Presence in the city, viewers speaking to the statues o Quite an impact on people - Vigilant - Adolescent boy – psychologically more effective, as a boy he can overcome these fears, defending the city o Citizenship – connects with the viewers o Donatello draws you into that process of mastering yourself o You yourself have to muster your courage to protect the common good - Linear perspective created and atmospheric o Depth in a very shallow space

David by Donatello (1408) in marble - Young shepherd boy who killed the giant who threatened Israelites with a sling shot - Very vulnerable, physically weak but psychologically strong - Resonates with political pressures - Courage and the skill to kill the Tyrant - Key symbol of Florentine identity

Donatello, David, (bronze) after 1428 - The Medici family commissioned this piece o Family of bankers, held a strong presence in Florence o Their power was resented o The piece may be actually resonating the power of the family rather than the battle between David and Goliath - Private work in the family’s palace - Revival of the classical male body and made him in nude - Androgynous body - Sensuous, more about eroticism that politics - Sadistic pleasure in the face of David - Sodomy

Donatello, and Holofernes, 1456-57 - People that are in a weaker position in society can still save a community from tyranny - Emasculation - Also commissioned by the Medeci family o Appropriated a symbol of the Florentine republic o Society sees this family as the tyrants that they need to overcome o One expelled, city takes statues away and places them as trophies from overcoming the tyrants

Masaccio, Tribute Money, fresco in the Brancacci Chapel, (Sta Maria del Carmine), Florence, c. 1427 - Private chapels – status symbol, connected to the Medici family, - Scenes from the life of st. Peter - Linear as well as atmospheric perspective - Scene from the new testament - The most important thing for a painting to do was to tell a story (istoria) o Needs to be virtuous and uplifting to the viewer o Emotional connection with the viewer o For the betterment of society o The key thing is a clear presentation of the story - Linear perspective o Depth to tell the story o Christ is the center to lead the story o Lines converging into a point - Competition between painting and sculpture Atmospheric perspective with the mountains and foliage

Masaccio, Trinity, Florence, c. 1425-28 Illusion as if the church opens up, you realize the two dimensionality of it Only works if you see it head on Trinity – god the father and god the son and the holy spirit - Reminding you of your own mortality - “I was once that which you are, and what I am, you will also be” - Going back in space o Illusionistic space created for us o You cant enter the space o Preparing your soul for death, you can only enter if you pass through the tomb Michealangelo, David (1501-1504) - Florentine tradition of commissioning big sculptures for the city - Originally commissioned for the outside of the cathedral - When it was completed, the republican government stepped in a put it in the entrance to the town hall - Reassurtion of republic values and the heroic male identity - Symbol of the republic’s ability to throw off tyrants - Compared to Donatello’s o Age, Androgyny is gone, picked a different point in the narrative o Moment before the battle, exercising his self control before he kills o Emulating and trying to out do Donatello (the body) o Emotive force, almost distorted

Leonardo da Vinci, , c. 1503-06 - Inscrutability that we can never read this face - The eyes always seem to be looking at you - Androgynous - Leonardo’s lover was the model (disputed) o Compare the facial characteristics it resembles other of da Vinci’s work - Wife of famous banker’s wife o Limited viewership - Innovative (three quarter length) o Gives a sense of the entire body o Before it was mostly profile, very flat - Pushes against gender codes and behavior o Patron would have rejected it o Sprezzatura - People in the are always in a role, expressing no emotion - Engaging us but pushing us back at the same time - Intended for the male gaze and the fact that she is returning the gaze makes it very provocative for the time - You can see her pulse, very lifelike o Also the haze in the background (SFUMATO) o Oil paintings enables this haze . Gives her this liveliness - The work never left Leonardo’s possession o Perhaps the patron never paid for the painting o Lots of depth, half smile, makes it less acceptable for women portraiture at the time St. Peter’s Basilica (Michelangelo, Bramante, etc)  Old St Peter’s (330 AD) by Constantine (Christian emperor)  Important burial sites for the Christians . New building – reconsecrated to the remains of Peter  Invigorated modern church  Julius – new Constantine . Controversial for the catholics and the protestants o Martin Luther: Indulgences towards the construction of the church . Construction of the church through the blood of his flock o Michelangelo – dome of Vatican and duomo of Florence . Better, whole dome itself is less elongated, rounder = true classical . Rises above the city

Michelangelo, Sistine Ceiling, Frescoes, Sistine Chapel, Vatical, Rome. 1508-12 - Sort of images that the Reformers criticized - God’s creation of earth, adam + eve, their expel, scenes of noa (sacrifice, arc, drunkenness – fall of mankind into sin + need for redemption) o As you walk in you go from sin to redemption - Side images – old testament stories all leading to sin & redemption - Creation of Eve : o In the middle because sin comes into the world from Eve o Through mary that redemption comes into the world (sin and redemption both come through women) - Creation of Adam: o Potential of Humanity – god with his finger is about to infuse his body with spirit o Energetic forceful god, as well as classical body o Man was created in God’s image o Concaved shape of god and convex shape of Adam - Ignudi – nude figures overlap main scenes o Della Rovere = oak tree . Acorns = family insignia (phallic power) - Libyan Sibyl – priestess of god o Foretelling birth of Christ o Somewhat masculine - Cumaein Sibyl o Reviving this body from pagen/classical antiquity in the church . Problematic because early Christians rejected this body . Manly figure of the body reoccurring in the female body Classical body being appropriated by the church Separation is Land from Water - One dramatic figure with cloak and little angels - Emphasis on the hand on the frame of the creator god resonates with manual labor Raphael, Stanza della Segnatura, Vatican Rome. 1509-1511 - Room where people get the signatures of the pope (where the name comes from) - Four main bodies of human knowledge (philosophy, poetry, religion) La disputa - Classical philosophers against Christian theologians - Discussion of the presence of Christ - Feeding into Christian tradition

School of Athens - Plato and Aristotle - Apollo and Athena - Illusionistic architectural frame (copy of Michelangelo) - Raphael has given double identities, philosophers with the faces of his contemporaries - Renaissance thinkers are connected to Philosophical figures learning from them o Making a claim for renaissance knowledge . New philosophy in rome at this time o Immortalizing these ancient philosophers with his contemporaries - Pagan thinkers, illustrates how every quest for wisdom is guided for god

Raphael, Sistine Madonna, 1513 - Julius ii died this year - Madonna and child - Saint of the hour of our death o Twisting pose - Saint Sixtus II o Early pope o Early Christian martyr o Could be a portrait of Julius II . Double identity . Commemorates his death - His coffin at the bottom with the two angel figures o On the threshold between worlds (intermediaries) - Similar to Masaccio’s trinity - Other realm that you can only enter through death - Balanced and harmonious style of art you see a lot of in Raphael’s work

Michelangelo, Last Judgment, Sistine Chapel, Vatican, Rome. 1536-1541 - Wall above the alter - After the reformation (a lot of political conflicts) o 1527. City of Rome invaded by Charles V (Sack of Rome) o Punishment against the church’s sins - No harmony and balance seen in the earlier works o Space is less logical o Bodies are confusing, no longer classical o World in Chaos . No striving for perfection - Original commission for the resurrection of Christ but then changed to the last judgment - In the center is Christ o Emphasis on muscles o Not a comforting vision o Moment of harsh judgment o Been compared to the God appall because of the sun around him - Mary is cowering o Secondary to Christ - St Bartholomew o Holding his skin (how he was killed) o Michelangelo’s face in his skin - Main theme seems to be about the bodily resurrection of the dead o To get into heaven you need your body - Stays with Christian repudiation of the body rather than his previous classical figures o Theologically it makes more sense than the ceiling o Lots of controversy - Miagio criticized his work and Michelangelo put him in the painting o Being tortured by a snake eating his genitals o Lots of playful images like that in this painting - Not sensuous nudity

Gentile Bellini, Portrait of a Doge, c. 1460 - republican city but elected as duke (for life) - top of the hierarchy of the city - Portraiture developing – laws about public clothing (myth of equality) o Producing an individual identity within this social context o Portraiture very linked to status . Most for men , Portrait of Doge Lordan, 1501 - Difference between the two: o Profile, less attention to garment, no three dimensionality o Lavish fabric, no eyebrows, less facial expression - Veers in the trouble of one man rule - Increasingly more realistic o More of a sense of the character of the individual - Certain standard for each of the Doges- status o Fiction of identity - Wise older men, government leader - Harp back to roman tradition Not trying to idealize the face, wrinkles signifying wisdom

Lorenzo Lotoo, Portrait of Andrea Odoni, 1527 - Pose shows culture o In the midst of his collection - Wealth – collection, costume, portrait of self - Gesture representing sincerity, Christianity - Begin to see more of these types of people that have the means to collection their own art o The idea of the museum came from these people o The desire to consume the past and the knowledge of the past, revival of classical learning - Context of early capitalism - A way of shaping your own identity by knowing about ceratin things and earing certain things - Who he was deeply tied with what he owned, that’s the fiction of his identity that he wanted to portray to people

Palma Vecchio, Portrait of a Woman (), 1520 - Portrait of a type of woman, not an actual individual - Very tactile, almost like yuou can feel her skin, hair, fabric , A Blond woman, c.1520 - Engaging with you, - Very sensual - Not proper venician women, returning our gaze, - Just a beautiful face - Courtesan portraits – high class prostitutes o Sexually available women - Idealized painting of beauty - Wanting to possess the painting as well as wanting to possess the woman , Lady in Blue Dress (La Bella), 1536. - Difference between portrait and character study - Idea of ideal beauty - Racial stereotypes play out of tradition of character portrait

Titian, Man with the Blue Sleeve, 1508 - more ornaments on woman, wheras man is plainly clothed - he has distance, is looking at us, looking down she is more there to be looked at where is he is almost looking at the viewer - ledge separates man from viewer, whereas woman is completely accessible

Titian, Portrait of a Woman, 1511 - Way that painting can be a way of showing social justice

Giorgione, The Old Woman 1508 - master – - Idea that one day you will look like this, encourages young portraits - With time this happens to everyone - Calls attention to conceit of portraiture people want to be idealized as possible - Idea that it is addressing us directly, status of painting and portraiture to citizens and the power that the painter possesses

Giorgione, 1505 - Three generations/nationalities of philosophers - Mystery – the background, their purpose o Intrigues the viewer

Giorgione, . 1505-1507 - Mentioned in will, do not sell or lend out after death - Precious to owner - Vague painting, story is ambiguous - Was x rayed and the man is originally nude, possible Adam and Eve - Trying to convey mystery - Try to engage you visually, have optical experience without knowing narrative, looking comes first

Titian and Girogione, Concert 1509-10 - Idealized pastoral painting - Two nude women, two clothed men - Villas being built around , wealthy men only - Man with guitar is urban man, other is rural very distinct in what they are wearing - Urban person entering slightly dream like pastoral space - Men are looking so intently at one and other, women go unnoticed