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Chapter 11 Painting Chapter 11 Painting • Medium: material that pigments are suspended in • Binder: holds the particles together (glue) • Support: in painting what the artist paints on • Transparent: paint that can be seen through • Opaque: paint that cannot be seen through • Ground: primer used to even the surface of the support, even application • Solvent: thinner that allows for paint to flow easier 1. Painting as the ability to copy during the Middle Ages 2. La Pittura: personification of Painting 1. Why is this important? Title: The Art of Painting Source/Museum: Vault of the Main Room, Arezzo, Casa Vasari. Canali Photobank, Capriolo, Italy. Artist: Giorgio Vasari Medium: Fresco Date: 1542 Size: n/a La Pintura 1. Representation 1. Herself 2. La Pittura 1. Why this representation? 2. Pendent: symbol of imitation 3. Accurate representation 1. Representation of nature through artist eyes 4. Portrayal 1. Real women 2. Idealized personification 5. Copy work or creative? 6. Equal to Leonardo and Michelangelo? 7. Western Painting: Painting the Nature 1. Zeuxius Vs. Parrhasius 1. Zeuxius: paints grapes and birds come down to eat them 2. Parrhasius: paints a curatian and Zeuxius asks him to remove the curtain so he can see the painting Title: Self-Portrait as the Allegory of Painting Source/Museum: The Royal Collection © Her Majesty Queen Elizabeth II. Artist: Artemisia Gentileschi Medium: Oil on canvas Date: 1630 Size: 35 ¼ x 29 in. Encaustic Encaustic Encaustic 1. Combining pigment with binder of hot wax 2. Funerary portraiture from Faiyum 60 miles South of Cairo 3. Real person 1. Naturalistic sensitive depiction of the face Source/Museum: Albright-Knox Art Gallery, Buffalo, New York. Charles Title: Mummy Portrait of a Man Clifton Fund, 1938. Artist: n/a Medium: Encaustic on wood Date: c. 160 – 170 CE. Size: 14 x 18 in. Encaustic Fresco • Greek and Classical Frescos deal with the representation of real objects: nature • European Fresco deals with the illusion of space Fresco Fresco 1. Buon fresco 1. Limewater (calcium hydroxide and slaked lime) 2. Fresco Secco 1. Binders of yolk, oil, or wax 3. Naturalistic depiction 4. Life size 5. Breaking the picture plane 6. Mt. Vesuvius eruptions in 79CE near the city of Pompeii Title: Still Life with Eggs and Thrushes Source/Museum: Villa of Julia Felix, Pompeii, National Museum, Naples. Scala/Art Resource, New York. Artist: n/a Medium: Fresco Date: Before 79 CE. Size: 35 x 48 in. Fresco Title: The “Toreador” Fresco Artist: n/a Date: c 1500 BCE, Knossos, Crete Fresco Secco Figure 22-4 LEONARDO DA VINCI, Last Supper, ca. 1495–1498. Oil and tempera on plaster, 13’ 9” x 29’ 10”. Refectory, Santa Maria delle Grazie, Milan. 10 Fresco Secco Figure 22-4 LEONARDO DA VINCI, Last Supper, ca. 1495–1498. Oil and tempera on plaster, 13’ 9” x 11 29’ 10”. Refectory, Santa Maria delle Grazie, Milan. Buon Fresco 1. Arena Chapel : built on ancient Roman arena ruins of an amphitheatre 2. Barrel vaulted: 3. Story of Mary and Jesus 4. Gesso made of gypsum 5. Tempera; powdered pigments, egg yolk, little water and sometimes glue 6. Grisaille (gray monochrome paintings) 1. Resemble sculpture and relief 7. Christian pictorial cylcels (38) 1. Life of Virgin and her parents, Joachim and Anna (top register, level) 2. Life of Jesus (middle) 3. Passion, Crucifixion, and Resurrection (bottom) 4. Last Judgment on west wall over entrance 8. Medallions: Christ, Mary and Prophets Figure 19-1 Giotto di Bondone, Arena Chapel (Cappella Scrovegni; interior looking west), 12 Padua, Italy, 1305–1306. Artist: Giotto di Bondone Title: Marriage at Cana, Raising of Lazarus, Resurrection, and Lamentation Medium: Frescoes Size: Each scene approx. 6' 5” x 6' (2 x 1.85 m) Date: 1305-6 Source/ Museum: North wall of Scrovegni (Arena) Chapel, Padua Buon Fresco 1. Off center for emotional effect 1. Emphasis 2. Focus 2. Barren land 1. Death 3. Virgin in mute intensity 1. Intensity of the scene 4. Convulsive despair 1. John the Evangelist 5. Real human suffering 6. Foreshortened angels 1. Hysterical grief 7. Tree of knowledge (good and evil) 8. Stagecraft 1. Figures with back turned 2. Set places. 3. Fore ground to background 4. Emotion 9. Chiaroscuro to show depth: 10. Mystery Plays holy representations Stages (stages of the cross) 11. Giornatta: a days work while painting a fresco Title: Lamentation Source/Museum: Arena Chapel, Padua, Italy. Scala/Art Resource, New York. Artist: Giotto Medium: Fresco Date: c. 1305 Size: Approx. 70 x 78 in. 1. Foreshortening 2. Architectural illusion Title: The Glorification of Saint Ignatius Source/Museum: Nave of Sant' Ignazio, Rome. Scala/Art Resource, New York. Artist: Fra Andrea Pozzo Medium: Ceiling fresco Date: 1691-1694 Size: n/a 1. Athena and Apollo 1. Arts and wisdom 2. Portraits 1. Plato and Aristotle 2. Euclid (mathematician) 1. Theorem 3. Bramante 4. Zoroaster and Ptolemy 5. Michelangelo 6. Raphael 7. Diogenes 3. Humanists vs. Scientist 4. Timaeus: 5. Nicomachean Ethics: Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19’ x 27’. 16 Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19’ x 27’. 17 1. Creation, Fall, Redemption 2. Prophets, Sibyls, Religious Imagery 3. Narrative from Genesis 4. 12 old testament prophets 5. 12 sibyls or women of classical antiquity 1. Possessed prophetic powers 6. Preparation 1. Theme 2. Scaffolding 3. Drawings 1. Cartoon 4. Transcription of drawing with Stylus Figure 22-18 Interior of the Sistine Chapel (looking east), Vatican City, Rome, Italy, built 1473. 18 1. Spiral contrapposto Title: The Libyan Sibyl Source/Museum: Detail of the Sistine Ceiling, Sistine Chapel, Vatican City. Canali Photobank, Capriolo, Italy. Artist: Michelangelo Buonarroti Medium: Fresco Date: 1511-1512 Size: n/a Title: Study for the Libyan Sibyl Source/Museum: Metropolitan Museum of Art, New York. Purchase, Joseph Pulitzer Bequest, 1924 (24.197.2). Photo © 1995 Metropolitan Museum of Art. Artist: Michelangelo Buonarroti Medium: Red chalk on paper Date: c. 1510 Size: 11 3/8 x 8 7/16 in. Tempera • Medium made by combining water, pigment, and some gummy water, usually containing egg yolk • Cannot be blended • Hatching was used for blending and volume (chiaroscuro) • Gesso: ground used for tempera on wood panels containing glue and plaster of Paris, chalk 1. Realism? 2. Problems of Scale 3. Drapery 4. Depiction of face and head 5. Mimesis: representations that transcend mere appearance; sacred or spiritual essence 6. Didactic function: ability to teach and 1. Connotation: transcends the meaning of what is there 2. Denotation: clearly before us 7. Support: 8. Opaque 9. Ground (pre- treatment) 10. Solvent 11. Vehicle Title: Madonna and Child Enthroned Title: Madonna Enthroned Artist: Giotto Artist: Cimabue Date: c.1310 Date: c. 1280 Source/Museum: Galleria degli Uffizi, Florence. Source/Museum: Galleria degli Uffizi, Florence. Scala/Art Resource, New Medium: Tempera on panel York. Size: 10 ft. 8 in. x 6 ft. 8 ¼ in. Medium: Tempera on panel Size: 12 ft. 7 ½ in. x 7 ft. 4 in. Tempera: Glazing 1. Venus 1. Caduceus 2. Three Graces 3. Venus 1. Son cupid 4. Chloris 1. Flora, goddess of spring 1. Floral Gown 5. God Zephyrus 1. West wind Title: Primavera Source/Museum: Galleria degli Uffizi, Florence. Scala/Art Resource, New York. Artist: Sandro Botticelli Medium: Tempera on gesso ground on poplar panel Date: c. 1482 Size: 80 x 123 ¼ in. Title: Braids Source/Museum: Private collection. © 1986 Leonard E. B. Andrews. Photo courtesy of Ann Kendall Richards, Inc., New York. Artist: Andrew Wyeth Medium: Egg tempera on canvas Date: 1979 Size: 16 ½ x 20 ½ in. Oil Painting • Best way to depict realistic three-dimensional forms • Binder: linseed oil • Solvent: turpentine • Qualities of Oil Painting – Can make modeling while on the surface of the painting – Can blend hues and tones on the painting seamlessly – Can work with big, bold, and energetic brush strokes • 1st used by Romans for furniture • 15th Century used for Painting in Flanders Oil Paint: Glazing 1. Religion and everyday life 2. Book, lilies, screen, towels: purity and divine mission 3. Mousetrap: Christ as bait 4. Flower of humility 5. Peter Inghelbrecht (angel bringer)/ Scrynmakers (cabinet or shrine makers) 6. Triptych: painting usually an altar made of three panel which can be closed 7. Small in size: portable and probably used for private worship Figure 20-4 ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on wood, center panel 2’ 1 3/8” X 2’ 7/8”, each wing 2’ 1 3/8” X 10 7/8”. Metropolitan Museum of Art, New York (The 30 Cloisters Collection, 1956). Title: The Annunciation (The Mérode Altarpiece) Artist: The Master of Flémalle (probably Robert Campin) Date: c. 1425 – 1430 Source/Museum: Metropolitan Museum of Art, New York. Cloisters Collection 1956 (56.70). Photo © 1996 Metropolitan Museum of Art. Medium: Oil on wood Size: Triptych. Central panel: 25 ¼ x 24 7/8; Each wing: 25 3/8 x 10 ¾ in. Trompe L’oeil 1. Feast for the eyes 2. Glazing: layers of transparent paint to make luminous effect 3. Trompe l’oeil: deceit of the eyes 4. Deliberate display of wealth Source/Museum: Toledo Museum of Art, Toledo, Ohio. Purchased with funds Title: Still Life with Lobster from the Libbey Endowment, Gift of Edward Drummond Libby. Artist: Jan de Heem Medium: Oil on canvas Date: Late 1640's Size: 25 1/8 x 33 ¼ in. 1. Feast for the eyes 1. Breakfast pieces 2. Glazing: layers of 2. Still life : dead nature transparent paint to make 1. Inanimate objects artfully arranged luminous effect 3. Trompe l’oeil: deceit of the eyes Figure 25-6 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611.
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