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Chapter 19
From Gothic to Renaissance:
14th Century Italian Art
Gardner’s Art Through the Ages,12e
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Italy Around 1400
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The Proto-Renaissance
Date Range: 1200 – 1400 (13th -15th C)
Key Date: 1300 (14th C)
This art historical period has many different names:
•Proto Renaissance
•Late Medieval
•International Gothic
•13th and 14th C Italian
•Ducento (1200’s 13th C)
•Trecento (1300’s 14th C)
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The Proto-Renaissance, 14th C
Political Context for 14th C Italy:
•Italy is a collection of powerful city-states ruled by oligarchies ordespots over a variety of political structures which were rife withinternal conflicts and instability
•The Papacy and Church at the peak of power politically andmilitarily
•Florence becomes the banking capital of Europe
•Constantinople is captured by Crusaders in 1204 which resultsin an influx of Byzantine artists into Italy, especially Siena
•The Black Death begins in 1348, decimating Europe’spopulation, especially Siena…
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These are the “rock-stars” of this period:
•Duccio di Buoninsegna from Siena and
•Giotto di Bondone from Florence
Duccio and Giotto re-introduce classical elements to painting:
•the human form
•human emotions
•the natural world
The Proto-Renaissance, 14th C
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Figure 19-17 ARNOLFO DI CAMBIO and others, Florence Cathedral (view from the south), Florence, Italy, begun 1296.
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Figure 19-17 ARNOLFO DICAMBIO and others, FlorenceCathedral (view from the south),Florence, Italy, begun 1296.
• BANKING and TEXTILES formedthe financial foundations for the city.
• It was mainly because of WOOLthat Florence prospered.
(everyone wore it!)
• Bankers and weavers helpedfinance the burst of artisticcreativity that would become theRenaissance.
The Proto-Renaissance, 14th C
•The Cathedral was started at this time, but it will take a while tofigure out that dome… (ch. 21)
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Figure 19-2NICOLA PISANO,pulpit of PisaCathedral baptistery,Pisa, Italy, 1259–1260.Marble, approx. 15’high.
• The 13th century sculpture of Nicola Pisanoexhibits and interest in classical forms unlikethat found in the works of his predecessors.(due to the humanistic culture of Sicily underits king, Holy Roman Emperor Frederick II)
•Frederick’s nostalgia for the past grandeur ofRome fostered a revival of Roman sculptureand decoration in Southern Italy before themid 13th century.
• Since Pisano received his early training in thisenvironment, he may have been influenced byRoman artworks.
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Figure 19-2NICOLA PISANO,pulpit of PisaCathedral baptistery,Pisa, Italy, 1259–1260.Marble, approx. 15’high.
• After Frederick’s death in 1250, Nicola Pisanotraveled northward and eventually settled inPisa.
• Pisano carved marble reliefs and ornamentfor large pulpits, completing the first in 1260for the baptistery of Pisa Cathedral.
• He incorperated medieval as well as classicalelements into his work
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Figure 19-2 NICOLA PISANO,pulpit of Pisa Cathedral baptistery,Pisa, Italy, 1259–1260. Marble,approx. 15’ high.
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Figure 19-3 NICOLA PISANO, The Annunciation and the Nativity, detail of Pisa baptistery pulpit, Pisa, Italy, 1259–1260. Marble relief, approx. 2’ 10” x 3’ 9”.
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Figure 19-3 NICOLA PISANO,The Annunciation and the Nativity,detail of Pisa baptistery pulpit, Pisa,Italy, 1259–1260. Marble relief,approx. 2’ 10” x 3’ 9”.
• The Virgin reclinesin mannerreminiscent of the lidfigures on Etruscanand Romansarcophagi.
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Figure 19-4 GIOVANNI PISANO, TheAnnunciation and the Nativity, detail of thepulpit of Sant’Andrea, Pistoia, Italy, 1297–1301. Marble relief, approx. 2’ 10” x 3’ 4”.
• Giovanni Pisano= NicolaPisano’s son
• Giovanni followed in hisfather’s footsteps, also carvingmassive pulpits
• however, his style was lessclassical and more derivativeof the French Gothic tradition
• Giovanni arranged his figuresloosely and dynamically anddisplay a nervous agitation asif moved by the spirit…
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Figure 19-4 GIOVANNI PISANO, The Annunciation and the Nativity, detail of the pulpit of Sant’Andrea, Pistoia, Italy,1297–1301. Marble relief, approx. 2’ 10” x 3’ 4”.
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The Proto-Renaissance, 14th C
Nicola… classical…
Giovani… Gothic…
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Figure 19-1 BONAVENTURABERLINGHIERI, panel from theSaint Francis Altarpiece, SanFrancesco, Pescia, Italy, 1235.Tempera on wood, approx. 5’ x 3’ x6”.
The Proto-Renaissance, 14th C
•14th C art in Italy was aLate Medieval 3-way mash-up of styles:
• classical
+
•Gothic
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•Byzantine styles…
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Figure 19-1 BONAVENTURABERLINGHIERI, panel from theSaint Francis Altarpiece, SanFrancesco, Pescia, Italy, 1235.Tempera on wood, approx. 5’ x 3’ x6”.
The Proto-Renaissance, 14th C
•Maniera greca (GreekStyle): Byzantine style ofpainting popular in Italyduring the 12th – 14th C
•This is one of the oldestknown representations of St.Francis…
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Figure 19-1 BONAVENTURABERLINGHIERI, panel from theSaint Francis Altarpiece, SanFrancesco, Pescia, Italy, 1235.Tempera on wood, approx. 5’ x 3’ x6”.
The Proto-Renaissance, 14th C
•St. Francis is painted veryChrist-like:
•4 of the 6 scenes depictSt. Francis performingmiracles…
•stigmata
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Figure 19-6 CIMABUE, Madonna Enthronedwith Angels and Prophets, ca. 1280–1290.Tempera on wood, 12’ 7” x 7’ 4”. Galleria degliUffizi, Florence.
• The construction of FlorenceCathedral and other new churchescreated a demand for altarpieces,chapel frescoes etc.
• Although Byzantine in style,Cimbue’s work showed the first signsof the new impulse toward naturalism
• Example: Mary has knees…
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• 1267-1337
• Grew up in a small village near Florence
• Giotto was a young sheep herder, who upon drawing a picture ofa sheep on a large flat stone caught Cimabue’s eye.
• Cimabue insisted on taking Giotto on as his apprentice
• Early on Giotto learned about the pioneering work of theRoman painter Pietro Cavallini and the Pisan sculptor NicolaPisano.
• Both of these artists opened his interest to a more naturalrepresentation of figures and classical models.
The Proto-Renaissance, 14th C
Giotto di Bondone from Florence
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Figure 19-7 GIOTTO DI BONDONE, MadonnaEnthroned, ca. 1310. Tempera on wood, 10’ 8” x 6’ 8”.Galleria degli Uffizi, Florence.
• painted for the Church ofAll Saints (Ognissanti) inFlorence.
• The gold background andthe lack of proportionbetween the Virgin and theother figures = Byzantine
• However, Giotto did placethe Virgin on a THREE-DIMENSIONAL throne.
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Figure 19-8 Interior of the ArenaChapel (Cappella Scrovegni),Padua, Italy, 1305–1306.
• Giotto’s great fame restson a series of frescopaintings he completedinside the Arena Chapel inPadua
• Built by Enrico Scrovegniin 1302
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Figure 19-8 Interior of the ArenaChapel (Cappella Scrovegni),Padua, Italy, 1305–1306.
•Enrico’s enormous wealthhad been inherited from hisfather, Reginaldo, anotorious money lenderwhose exorbitant interestrates were castigated byDante in his Divine Comedy
•This chapel was a responseto Dante and the world…demonstrating holiness…
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Figure 19-8 Interior of the ArenaChapel (Cappella Scrovegni),Padua, Italy, 1305–1306.
• The Arena Chapelcontains forty major frescopaintings
• Depicts key events fromMary’s life, her parents, andthe Ministry and Passion ofChrist
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Figure 19-8 Interior of the ArenaChapel (Cappella Scrovegni),Padua, Italy, 1305–1306.
•The narrative cycleconcludes with the paintingof the Last Judgment,placed over the entrancewall.
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Figure 19-9 GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305. Fresco, 6’ 6 3/4” x 6’ 3/4”.
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Figure 19-9 GIOTTO DIBONDONE, Lamentation, ArenaChapel, Padua, Italy, ca. 1305.Fresco, 6’ 6 3/4” x 6’ 3/4”.
• demonstrates his extraordinaryability to convey a range of humanemotions
• Mary is torn with sorrow, MaryMagdalene looks hopelessly at thewounds in Christs feet, Saint John theEvangelist flings his arms back in agesture of complete despair.Inconsolable angels hover above themourners
• Giotto’s revolutionary managementof light and shade enhanced hisexpressive powers
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Figure 19-9 GIOTTO DIBONDONE, Lamentation, ArenaChapel, Padua, Italy, ca. 1305.Fresco, 6’ 6 3/4” x 6’ 3/4”.
• Giotto created this illusion of volumeby allowing light to illuminate parts ofeach figure while leaving the rest inshade
•Development of Chiaroscuro, the use ofdramatic contrasts of light and dark toproduce modeling
• Giotto thus began a style in Westernart that would endure for sevencenturies
• Giotto spent his final yearssupervising the construction of thecampanile that stands beside FlorenceCathedral.
“I am the man whobrought painting tolife…whatever is found innature may be found inmy art.”
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Figure 19-14 Palazzo Pubblico,Siena, Italy, 1288–1309.
•Siena is 30 miles south ofFlorence
•The 2 cities competed forpolitical power,commercial wealth andartistic prestige
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Figure 19-14 Palazzo Pubblico,Siena, Italy, 1288–1309.
•This is a Gothic style cityhall, the campinile wasthe city’s lookout
•The Sienese also had aCathedral dedicated tothe Virgin…
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Figure 19-10 DUCCIO DI BUONINSEGNA, Virgin and Child Enthroned withSaints, principal panel of the Maestà altarpiece, from the Siena Cathedral, Siena, Italy,1308–1311. Tempera on wood, panel 7’ x 13’. Museo dell’Opera del Duomo, Siena.
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Figure 19-10 DUCCIO DIBUONINSEGNA, Virgin andChild Enthroned with Saints,principal panel of the Maestàaltarpiece, from the SienaCathedral, Siena, Italy, 1308–1311. Tempera on wood, panel7’ x 13’. Museo dell’Opera delDuomo, Siena.
Duccio was commissioned by the directorsof the Sienese to paint a huge alterpiecefor the cathedral
2 sides, over 50 panels, all tempera onwood
Because the central, largest panel depictsthe Virgin and Child in majesty, it iscalled the Maesta
Although indebted to the Byzantinetradition, this painting reveals a newnaturalism
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Figure 19-10 DUCCIO DIBUONINSEGNA, Virgin andChild Enthroned with Saints,principal panel of the Maestàaltarpiece, from the SienaCathedral, Siena, Italy, 1308–1311. Tempera on wood, panel7’ x 13’. Museo dell’Opera delDuomo, Siena.
Like Giotto, Duccio portrays a range ofemotions, especially on the back of thealterpiece in the Betrayal of Christ
He carefully paints the fall of light andshade across each figure and the robesshow volume and real bodies underneath
Duccio wrote the following prayeralongside his signature at the base ofMary’s throne: “Holy Mother of G-d, bethe cause of peace to Sienna, and of lifeto Duccio because he painted you thus.”
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Figure 19-11 DUCCIO DI BUONINSEGNA, Betrayal of Jesus, detail from the back ofthe Maestà altarpiece, from the Siena Cathedral, Siena, Italy, 1309–1311. Tempera onwood, detail approx. 1’ 10 1/2” x 3’ 4”. Museo dell’Opera del Duomo, Siena.
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40 million $
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Figure 19-12 SIMONE MARTINI AND LIPPO MEMMI(?), Annunciation, 1333 (framereconstructed in the nineteenth century). Tempera and gold leaf on wood, approx. 10’ 1” x8’ 8 3/4”. Galleria degli Uffizi, Florence.
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Figure 19-12 SIMONEMARTINI AND LIPPOMEMMI(?), Annunciation,1333 (frame reconstructed inthe nineteenth century).Tempera and gold leaf onwood, approx. 10’ 1” x 8’ 83/4”. Galleria degli Uffizi,Florence.
Duccio’s use of luxurious colors and loveof ornamental details guided a newgeneration of artists in Sienna, led bySimone Martini
Some art historians believe Martini mayhave been one of Duccios assistants onthe Maesta
In 1333 Martini was asked by thedirectors of the cathedral to create anAnnunciation alterpiece to complementDuccio’s
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Figure 19-12 SIMONEMARTINI AND LIPPOMEMMI(?), Annunciation,1333 (frame reconstructed inthe nineteenth century).Tempera and gold leaf onwood, approx. 10’ 1” x 8’ 83/4”. Galleria degli Uffizi,Florence.
Gabriel is saying, “Hail, Mary, full ofGrace, the Lord is with you.”
He offers a vase of lillies that symbolizeher purity
She is startled, closing her Bible as shegets the big news
Martini’s use of brilliant colors, lavishcostumes and exquisite ornamental detailall contributed to the development of theInternational Gothic Style at thebeginning of the 15th century
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Figure 19-15 Ambrogio Lorenzetti, Peaceful City, detail from Effects of GoodGovernment in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena,Italy, 1338–1339. Fresco.
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Figure 19-15 Ambrogio Lorenzetti, PeacefulCity, detail from Effects of Good Governmentin the City and in the Country, Sala della Pace,Palazzo Pubblico, Siena, Italy, 1338–1339.Fresco.
Sienna’s ruling council asked Lorenzetti to decorate the walls oftheir meeting hall in the Palazzo Pubblico with a vast paintingcontrasting the effects of bad and good government
This is the first secular commission since the fall of Rome…
13 ft high, 27 ft across, it depicts what Sienna must have lookedlike in the 14th century… note the benefits of peace: well-stockedstores, attentive students and knowledgable teachers, joyousmaidens
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Figure 19-16 Ambrogio Lorenzetti, Peaceful Country, detail from Effects of GoodGovernment in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy,1338–1339. Fresco.
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Figure 19-16 Ambrogio Lorenzetti,Peaceful Country, detail from Effectsof Good Government in the City andin the Country, Sala della Pace, PalazzoPubblico, Siena, Italy, 1338–1339.Fresco.
Lorenzetti’s Peaceful Country portion of the fresco provides asweeping view of one of the first landscapes painted since antiquity
Contented peasants, bountiful fields
In the upper left corner an allegorical figure representing Securityholds a scroll with an inscription promising safety to all who liveunder the rule of law
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Figure 19-13PIETROLORENZETTI,The Birth of theVirgin, from Altar ofSaint Savinus, SienaCathedral, Siena,Italy, 1342. Temperaon wood, approx. 6’1” x 5’ 11”. Museodell’Opera delDuomo, Siena.
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Art and Death
Everything seemed so good, until just ten years after Lorenzettifinished his fresco, an outbreak of bubonic plague would devastatethe poulation of both cities
By 1348 more than half the people of Florence and 2/3s the peoplein Siena were dead
Known as the Black Death, the plague wiped out a third ofEurope’s population.
Anguished survivors saw the plague as G-d’s wrath forhumanity’s earthly sins, and art became reflective of misery,mourning and self-reproach
It would take 50 years for a new generation of artists in Italy toremember the pioneeering achievements of Giotto and Duccio