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Art History 112 (ART H 112)
Monday, January 18, 1999
Announcements:
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Those who do not yet have a syllabus, should contact
a teaching assistant.
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A handout with slide and artwork information is forthcoming
(end of this week, beginning of next).
Lecture notes:
OVERHEAD
Early Italian Renaissance (1200-1400)
B. Architecture
Filippo Brunelleschi (1377-1446)
1. Florence Cathedral, begun by Arnolfo de Cambio, 1296;
dome by Brunelleschi, 1420-36.
Cf. Pantheon, Rome, 118-125 A.D.
Cf. Michelangelo, St. Peter's, 1546-64
Cf. Capitol Building, Washington, DC, first half
of 19th Century
2. San Lorenzo, Florence, 1421-69
See "crossing" (also known as
"crossing square") in Jansen's
glossary
Michelozzo (1396-1472)
1. Palazzo Medici-Riccardi, Florence, begun 1444.
Leone Battista Alberti (1404-1472)
1. Palazzo Rucellai, 1446-51.
Cf. Coliseum, Rome
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Review of Giotto's frescos in the Arena Chapel at Padua
"Betrayal
of Christ", Giotto, Arena Chapel at Padua, 1305-06
>cinematic quality
>spears create action
>the center (with Christ and Judas) is still with movement around (Peter
defending)
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Giotto
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was recognized even in his own day as being one of
the great artists
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he is considered the founder of the Italian School
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Dante and Petrarch wrote of his abilities
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he had a unique ability to capture the human experience
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Florence
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exciting place to live
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innovative, talented people coming together
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a time of stress and violence
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city under siege on frequent basis
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strong sense of civil pride
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took on symbol of David, the biblical shepherd boy
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Masaccio
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principal painter of the time (13th Century)
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he expands on Giotto's style, though was not a student
of Giotto's
"Brancacci
Chapel," Sta. Maria del Carmine, Florence c. 1427
>Masaccio (younger) and Masolino (older less talented) worked together
>commissioned by the Brancacci family
>vivid colors
>stylistic tension between Masaccio and Masolino
>west wall: Masaccio; east wall: Masolino
"Expulsion
from Paradise" from the Brancacci Chapel" Masaccio, c.1427
>after being cast out
>self-conscious of appearance
>visible grief, almost audible
Adam
and Eve (no title given), Masolino
>shown prior to sin
>serpent has angelic face
>does not convey naturalism of Masaccio's
"Tribute
Money" (west wall of Brancacci Chapel), Masaccio c.1427
>story in Matthew 17:24-27
>money for the tax collector is found in the mouth of fish
>Christ is in the center; the apostles are asking for guidance
>why did he choose this subject matter?
>>in reaction to the new graduated tax in Florence; social commentary
>>shows a biblical precedent for such a tax; support for the tax
>shows images from different times in one frame
Earlier Precedent: Creation Page from the Pantheon Bible
>Creation of Adam,
>Eve emerges from Adam,
>Serpent and Tree of Knowledge in same scene
>Progressive: Masaccio is known for one-
or single-point perspective.
"Good Government in the City," Lorenzetti, 1338-40
>does not use one-point perspective
>some buildings appear as if the viewer is looking down at them, others
as if the viewer is looking straight-on
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Single-Point Perspective
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cohesive sense of space
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single vanishing point
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grid pattern of transversals and orthagonals determine
the size of each part of the painting
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technique invented by Brunelleschi for his architectural
plans
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Masaccio applied it to his work
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in fact, the human eye is better able to adjust than
one-point perspective assumes
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atmospheric perspective
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closer: in-focus
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distant: out-of-focus, blurry
"Holy
Trinity with Virgin, St. John, and Two Donors" Sta. Maria Novella, Florence,
Masaccio, 1425
>fresco (softer, more powdery in tone and color)
>God is the presiding figure; almost holding Christ
>Masaccio does not idealize Mary (as many tend to do)
>>brings humanity to the situation by showing facial lines and indicating
her age
>donors (Brancacci husband and wife) are shown close but not in the same
realm as
the other figures
>one-point perspective vanishing point is at the foot of the crucifix
>this fresco uses mathematical perspective in concert with ancient religious
meaning
>this technique systemizes, or unifies the process of seeing
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Masaccio turns to his love of the real world around
him (naturalism)
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He makes efforts to push limits
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the viewer can sense Masaccio's excitement and seduction
of the viewer
Symbolic comparison:
Peter's head from "Tribute Money" and Dome of the Florence
Cathedral
Peter's head from "Tribute Money", Masaccio,
1427
>Masaccio reaches a new level of human dignity sought after in the Renaissance
>Peter is not idealized; the viewer can see struggle in his face
Dome of the Florence Cathedral, Brunelleschi, 1420-36
>an architectural feat
>conveyed the spirit of the time
**Both
represent
>humanist philosophy
>faith in the individual to be governed by free will
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