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29 Cards in this Set
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BONAVENTURA BERLINGHIERI – St. Francis Altarpiece – 1235. - an ancona - painted just 9 years after St. Francis' death - a very short time, shows how much he was respected - painted in egg tempera - about 5 feet hight - signed AND dated (very rare) |
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ROMANESQUE PERIOD – Volto Santo, San Martino, Lucca – 11th c. - was transported from Luni to Lucca in the 12th century, presided over by Bishop Giovanni - Volto Santo means "holy face" - major pilgrimage work; people visited from all over to see this holy relic - was dressed up on holidays and feasts - started a tradition of painted crosses - right foot smaller than left; had to put chalice underneath to keep shoe on during feasts, became part of iconography |
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Maestro GUGLIELMO – Sarzana Crucifix – 1138. - Tuscan-Romanesque style - earliest signed and dated work in Tuscany of any medium still surviving - earliest painting in any medium surviving in Tuscany - iconography: Christus Triumphans type (living dead, open eyes and erect head but pierced side) |
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TUSCAN ROMANESQUE – Uffizi Cross #432 – late 12th c.
- 12 feet high - not signed or dated - usually just identified by Cross #432 - Christus Vivens (living Christ, no pierced side) - surrounded by story panels; narrative type |
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GIUNTA PISANO – Sta. Maria degli Angeli Crucifix –ca. 1235.
- located in Assisi - painted on wood - was influenced by St. Francis' humanistic teaching of Christ - pivotal artist that changed the christus triumphans tradition to christus patiens |
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COPPO di MARCOVALDO (attrib.) – Last Judgment Mosaics, Baptistery, Florence – 2nd half of the 13thc.
- gives an encyclopedic detail of the scriptural narratives - created in the Byzantine style - Coppo is not mentioned in Vasari - the baptistery was a place of great cultural significance to the Florentines - highly detailed work |
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COPPO di MARCOVALDO – Santa Maria Maggiore Madonna –ca. 1250-60.
- sculpted panel and gold leaf raised to create nuggets (not fully 2D or 3D) - enamel and paste give the illusion of encrusted jewels among the painted images - has a predella = the painted base of an elaborate altarpiece - includes elaborate drapery |
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CIMABUE– San Domenico Crucifix –ca. 1265-70.
- work not actually signed; attributed to Cimabue because of stylistic similarity to his Santa Croce Crucifix in Florence - badly damaged - shows Christ as fully dead (Christus patiens), one of the 1st to do so - one of the 1st of painted panel crosses to show Christ bent in agony and real emotion on face |
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CIMABUE– Santa Trinita Madonna – ca. 1280-90.
- tries his hand at 3D space and foreshortening (arch and angels overlapping), but not as successful as later artists - still retains Italo-Byzantine style however by figures not interacting and flat colors/lines |
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DUCCIO– Rucellai Madonna –commissioned 1285.
- painted with tempera - constructed of 5 poplar panels being glued together - may be the largest surviving painting from Italian 13th century art |
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ROMANESQUE-GOTHIC Pds.– The Cathedral complex of Pisa – 11th-13th c.
- includes Piazza del Duorno and the Sta. Maria Assuntam the Cathedral of Pisa - Buscheto was the Master Mason; his tomb is on the facade of the cathedral |
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NICOLA PISANO – Pulpit, Baptistery, Pisa – ca. 1259-60.
- Medieval-type influences - Corinthian capitals - Lots of sculpted details |
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NICOLA PISANO – Daniel (Fortitude?), Baptistery pulpit, Pisa – ca.1259-60.
- it is rare that he is nude - not often portrayed in Medieval art because of the concern for sexual sin and modesty - shows weight-shift/ponderation principle - saturated with classical inspiration |
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NICOLA PISANO – Annunciation and Nativity panel, Baptistery Pulpit, Pisa – ca.1259-60.
- Hierarchical scale (most important figure is the biggest) - Simultaneous narrative - figures well-designed and gracefully posed |
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GIOVANNI PISANO – Pulpit, Sant’Andrea, Pistoia – ca. 1297-1301.
- used Gothic arches instead of the Roman arches that his father used - Corinthian capitals like father - signatory inscription (prideful of his work) |
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GIOVANNI PISANO – Annunciation and Nativity panel,pulpit, Sant’Andrea, Pistoia – ca. 1297-1301.
- more energy, movement, and emotion than his father's Annunciation and Nativity - less idealistic figures than father - Gothic figurative style |
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GIOTTO– Ognissanti Madonna –ca. 1310.
- around 10 feet high - gold leaf and hierarchical scale like Italo-Byzantine - painted from real life, no prototypes - realism - real space and sense of 3D, weight, overlapping, and foreshortening (successfully) |
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GIOTTO –Santa Maria Novella Crucifix– ca. 1300.
- over 17 feet high - largest painted panel cross of that period (and one of the last) - inspired many other works |
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PIETRO CAVALLINI – Last Judgment fragment, Santa Cecilia in Trastevere, Rome – ca. 1290s.
- monumentally conceived - figures are weighty; 3-dimensionally presented - did not survive well |
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GOTHIC– Basilica of San Francesco, Assisi – begun 1228.
- lavishly painted - dedicated to St. Francis shortly after his death - great example of Gothic-Italian architecture - there's an upper and a lower church |
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GOTHIC– Viewof the nave of the Upper Church of San Francesco, Assisi – 1228-53.
- lavishly painted - dedicated to St. Francis shortly after his death - there's an upper and a lower church - contains two crucifixion scenes by Cimabue - contains the St. Francis Cycle |
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MASTERof ST. FRANCIS CYCLE (GIOTTO?) – Conversion of St. Francis, San Francesco, Assisi – ca.1290s.
- attributed to Giotto as a young man by Vasari - consists of 28 panels depicting St. Francis' life |
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MASTERof ST. FRANCIS CYCLE (GIOTTO?) – St. Francis Renouncing His Fatherand His Worldly Goods, SanFrancesco, Assisi – ca. 1290s.
- interesting use of space - contains some of Giotto's signature qualities |
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GIOTTO, relt’d. – Exterior view ofthe Arena Chapel, Padua – ca. 1305-10.
- built on top of an ancient Roman amphitheater - originally part of a whole complex - Scrovegnis were a wealthy family of money loaners (with a high interest rate) |
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GIOTTO, relt’d. – Interior view ofthe Arena Chapel, Padua – ca. 1305-10.
- lavish use of ultra-marine blue which was made from a semi-precious jewel - a private chapel occasionally opened to the public, possibly for mystery plays - contained "corettos" or "secret chapels" |
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GIOTTO– Meeting at the Golden Gate, Arena Chapel, Padua – ca.1305-10.
- scene where Anna has immaculate conception, according to Catholic tradition - uses natural settings and expresses powerful human emotions - Judith shamed in background for her taunting of Anna in a previous panel |
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GIOTTO– Lamentation, Arena Chapel, Padua – ca.1305-10.
- in lower, 3rd tier of chapel - all eyes and even the landscape direct attention to Jesus and Mary - viewer is drawn into the circle and narrative - common scene to portray in Catholic tradition, although it never appears in scripture |
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GIOTTO– The Last Judgment, Arena Chapel, Padua – ca.1305-10.
- Christ's right hand is open to the saved on his right, and his left hand is down to condemn the damned - Mandorla is surrounding Christ = an almond-shaped rainbow often used in Last Judgment scenes - Enrico Scrovegni (who commissioned the chapel) is shown presenting his chapel on the side of the saved |
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Byzantine Style - San Damiano Crucifix, Assisi, c. 12th century - the cross that miraculously spoke to St. Francis and led to his conversion - shows Christus triumphantes - very important to the Catholic faith |
