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RENAISSANCE 8/22/12 Giotto, Arena Chapel Murals, 1305-10 (Ex

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RENAISSANCE 8/22/12 Giotto, Arena Chapel Murals, 1305-10 (Ex RENAISSANCE 8/22/12 Giotto, Arena Chapel murals, 1305-10 (ex. Raising of Lazarus) -dramatic, narrative, humanistic, worldly -took away old stylized notions with gold background, placing work in nature -easier to identify with scene -stories from bible -Giotto first to make natural figures, landscapes, narrative scenes -Dies in 1330s; 1348 bubonic plague; art goes out the window- repentant images; didn’t recover until 1400 -Black Death (Bubonic Plague) happened after his death -ship landed just north of Florence, infected rats -spread to Tuscany, Florence, Siena (2/3 population died in two summers) -Florence lost ½ population -most devastating natural disaster in European history; when Renaissance humanism took root -religion occupied primary position in Italian life, scholars and artists more concerned with natural world -considered 1st Renaissance painter, pioneer in pursuing naturalistic approach to representation based on observation, core of classical tradition in art; rebirth of classical values in art and society -calm style revolutionized new repertoire of representational style that other Renaissance painters studied, developed Traini, Triumph of Death (after Black Death-1348/49), c. 1355 -shocking effect; followers of Giotto died, leaders died; 3 major artists of time died, donors died -art took one step back -Black Death art -no interesting color, beauty -about death, seeing bodies in caskets; horrors of death, confront mortality -young aristocrats mounted in stylish cavalcade, 3 coffin encased corpses in differing stages of decomposition; ladies disgusted, animals sniff, men hold noses -San Macarius unrolls scroll with inscription commenting on folly of pleasure, inevitability of death -far right, ladies and gentlemen ignore death and reality, in orange grove with music and amusement, surrounded by angels and demons struggle for the souls of the corpses in the foreground -also shows those unprepared for death, unlikely to achieve salvation; wealthy, reveling in luxury -warning against greed and lust -disparate scenes, but rendered with naturalism and emotive power -irony of history: Western humanity drew itself and world into sharper visual focus, perceived more clearly -Pisa, Italy; creator contest, not really sure if it’s Traini Michelangelo, David 1504 -not originally meant to be indoors, but is today -now at Academy in Florence; climate and lighting controlled Reading: “The Location of Michelangelo’s David: The Meeting on January 25, 1504” -1501 commission, 1504 finished; where should the statue go? Reading: “David, by the Hand of Michelangelo” in 1987 (F. Hartt) -sculpture, commemorative memorial 8/24/12 -1400 meeting in Florence following Black Death, wanted art on set of doors in Baptistry (across from cathedral) in Florence; needed open competition for artists (1401); wool merchants guild sponsored competition -artists submitted sample of work that would fit in panel of door -scene had to be of Abraham sacrificing Isaac on mount -needed donkey, 2 servants, Isaac and Abraham, Angel talking to Abraham, sheep, thorny bush Ghiberti and Brunelleschi, Sacrifice of Isaac comp. panels, 1401 -scene of great human drama, spiritual and human importance -Ghiberti won panel on second vote, not because of aesthetic -originally a tie between G & B, Brunelleschi did not win in second vote (despite looking better today, more bronze) -Brunelleschi has more depth to relief, more bronze created depth; better spacing, compositional layering -Brunelleschi becomes great architect after roaming -both used French Gothic quatrefoil frames, depict moment of angel’s halting action of Isaac sacrificing son -Brunelleschi’s panel shows sturdy, vigorous interpretation, emotional agitation; demonstrates Brunelleschi’s ability to carefully observe and represent faithful elements of narrative -Ghiberti emphasized grace and smoothness; recalls classical statuary; Gothic pose with outthrust hip, shows contemplation -Ghiberti revealed appreciated for nude male form, interest in muscular system and skeletal structure -Ghiberti cast his panel in only 2 pieces (reduced amount of bronze needed; Brunelleschi’s was several pieces View of Cathedral (Deuomo) & Brunellschi, Dome complex, 1420-1436 -freestanding dome, egg crushing story -elliptical dome can free stand, with double casing; beams with clamps between internal and external domes -Florentine artists were problem solvers; city was interested in innovation, allowed new ideas -originality of concept, coherence of form and function—complementary approaches -Brunellschi shows innovation, problem-solving as standard for what artists should do -Middle Ages: manuscript of illustration, to be exactly like predecessor, continuity -Renaissance begins to break the mold in the West; idea of competition and innovation 8/27/12 -modeling: light-dark relationships help define forms; contrast -plastic/plasticity: shape-ability or malleability of something -chiaroscuro: clear versus shadow; different from modeling; merging of light and shadow Brunelleschi, Church of San Lorenzo (interior view & plan), 1421- -―revelation‖ in architecture; show difference between Middle Ages traditional and new Renaissance ideals -gothic cathedrals (Middle Ages) stained glass windows, tall, dark, mystical -Christian spirituality and dominance of church in Middle Ages -humanism vying with spiritual tradition in Renaissance; Classical notion, revival in interest -columns, arches in Classical style -consecutive series of columns, side chapels with separate alters (for individuals, patrons, family visits) -perfect prototype church (same basic formula, repeated) meant emphasis of new direction in religiosity in architecture -geometric proportioned interior, modular, carefully repeated rectangles and squares; mathematical orderliness -entablature: upper area above columns (rounded windows, repeated patterns) -no stained glass, open windows, pure geometric circle (unlike oddly-shaped gothic windows) -sense of harmony, universality, higher order not measurable with eye (but you can still tell it’s symmetrical) -peaceful relationships with white, pure light, lucid, enlightening religiosity, intellectual and emotive response -microcosm of God’s perfection; reflects God’s order as described in bible—and still relatable -understand universals through particulars; man’s perception is more important than ethereal -Brunelleschi’s great at codifying system of linear perspective derived from skill as architect; disappointed after loss of commission of Florence baptistery doors, continued to sculpt -had broad knowledge of Roman construction principles, analytical and inventive mind -space of 140 ft span, too wide from traditional wood centering, also had to deal with buttressed walls -Brunelleschi and Ghiberti joint commission, later given to just Brunelleschi -discarded traditional building methods, invented machinery for job; preferred hemispheric shape of Roman domes, but raised center of dome and designed ogival (pointed arch) section—more stable with of outward thrust around dome base -thin double shell, skeleton of 24 ribs, 8 visible on exterior, heavy lantern anchored structure -used Gothic building principles, doesn’t express Renaissance architecture style Medici Family -successful merchant bankers; new role after Black Death: other merchants on decline, Medici family invested -double bookkeeping with different tabs of input/output -typical Renaissance patron at highest level; free economic investment capital, helped design -Brunelleschi and Medici family in good relations Donatello, St. George, 1410-1415 (Orsanmichele) -Donatello in Rome during childhood while Brunelleschi in prime; D still developing style, art -apprenticeship: how to do drawings, models, given test at guild—problem to be worked out by apprentice -―master‖ at threshold of training and worthy of independent work, ability to be hired for work St. George (marble) -Donatello’s father had to sign for work, father also a master -work created in Florence at beginning of his career as designer -St. G important in religious life; Roman centurion (soldier) who converted to Christianity, faith tested by Constantine -many people converted to Christianity because of church militant (St. G), spreads faith through possibly false story -Pope John 23rd wants list of Saints and stories, St. George story on defeating monster for recruiting followers -portrayed standing with proud, heroic body stance; readiness to confront spiritual enemies (dragon as sin, St. G as good) -opening in hand and clip for sword to be placed, clips for helmet (like advertisement for armorer’s guild) -outside public chapel in Florence; patron of statue armorer’s guild (St. G wearing armor with shield) -tilted chin, readiness with shield; new values system: models of ideals, human psychology in sculpture -notion that people can rise to their highest potential Donatello, David-bronze, 1440-1460 -original David commissioned by Medici family -more feminine, youthful and adolescent qualities -props in image; great literary and religious figure; saves country from being taken over by Philistines (hero) -needs different medium (polished bronze in this David statue); polished bronze reflects light, marble absorbs light -bronze important: water freezes in cracks of stone statues, expands, breaks statue -relaxed contrapposto and sensuous beauty of nude Greek gods; revival of statuary style for Medici patron -use of perspectival system in relief sculpture, revival of classical principles and values in arts -revival of
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