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    Proto-Renaissance Art

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    Arena Chapel Frescoes
    N: Arena Chapel Frescoes
    P/D: Proto-Renaissance/ 1300 CE
    A: Giotto
    Pa: Enrico Scrovegni
    L: Padua, Italy
    M/T: Frescoed interior, chapel itself a simple barrel vaulted room
    F: Portrayed the Last Judgement, scenes from the life of Christ, the Annunciation, etc.
    C: Shows both his narrative skills as well as how far he has come from his teacher Cimabue, his realism is what makes him the “father of modern painting”
    I: The side walls are subdivided with grisaille paintings of Virtues and Vices, from which rise vertical bands containing quatrefoil portrait medallions, three levels: Virgin Mary, Life+Mission of Christ, Christ’s Passion/ Crucifixion, concentrates more on human dimensions than its symbolic or theological weight, draws the viewers into the experience of the events, direct emotional appeal not only allows viewers to imagine scenes in relation to their own experiences but also embodies a value on personal devotion
    Allegory of Good and Bad Government
    N: Allegory of Good and Bad Government
    P/D: Proto-Renaissance/ 1339
    A: Ambrogio Lorenzetti
    Pa: Siena City Council
    L: Palazzo Pubblico, Siena, Italy
    M/T: Fresco in the Sala della Pace
    F: Propaganda, showed the positives of a republican government, seen in the dancers and merchants, while contrasting what would happen if ruled by a “bad” government
    C: Siena was a republic largely due to the expanding middle class
    I: Lorenzetti maintained an overall visual coherence despite the shifts in vantage point and scale, created a feeling of lifelike scale in the relationship between figures and environment; famine, poverty, and the Black Death overtook Siena just a few years after this work was completed
    Virgin and Child Enthroned (angels+prophets)
    N: Virgin and Child Enthroned (angels + prophets)
    P/D: Proto-Renaissance/ 1280 CE
    A: Cimabue
    Pa: Unknown
    L: Florence, Italy
    M/T: 12 feet tall panel painting altarpiece (tempera and gold on wood)
    F: Altarpiece for the Church of Santa Trinita
    C: One of the 1st to begin exploring natural features of the body through painting
    I: Used gold leaf to enhance drapery of Mary’s dress, diagonals and perspective to create space, the Byzantine head tilt, and the use of overlap. The angels are painted without attention to individual expression. The four apostles depicted at the bottom of the painting are much more individualized in their features and poses and scrolls let us know these are prophets
    Virgin and Child Enthroned- Maesta altarpiece
    N: Virgin and Child Enthroned- Maesta altarpiece
    P/D: Proto-Renaissance/ 1310 CE
    A: Duccio
    Pa: Siena Cathedral
    L: Siena, Italy
    M/T: panel painting altarpiece (tempera and gold on wood)
    F: Altarpiece made for Siena Cathedral
    C: Combines a softened figure style adapted from later Byzantine art with the linear grace and easy relationship between figures and their settings that is characteristic of French Gothic art.
    I: 20 angels and 10 saints are around the virgin and child. Above and below were smaller scale narrative scenes from the Life of the Virgin and the Infancy of Christ
    Virgin and Child Enthroned
    N: Virgin and Child Enthroned
    P/D: Proto-Renaissance/ 1310 CE
    A: Giotto
    Pa: Unknown
    L: Florence, Italy
    M/T: panel painting altarpiece (tempera and gold on wood)
    F: Altarpiece for the Church of the Ognissanti
    C: Resemble the weight and solidity of classical sculpture
    I: Figures have substance and dimensionality (3D). The throne is deep enough to contain the large figure and breaks away from the flat background to enclose the Madonna. The 3D throne above the Madonna’s head adds depth and projects the figure toward the viewer.
    N: Annunciation
    P/D: Proto-Renaissance/ 1333 CE
    A: Simone Martini
    Pa: Unknown
    L: Unknown
    M/T: Tempera on panel
    F: Showed the angel Gabriel telling Mary she it to have the Christ child
    C: Known as the ‘international Gothic’ style, appealed to aristocrats
    I: The lilies in the back symbolized purity, punch work on the halos, most famous painting of Martini, can see the announcement (like a speech bubble), attention to decorative pattern and detail, as if Gabriel has just landed, Mary thin and elongated, shows Mary’s modesty, speaks to human experience, frame not original
    Baptistery Pulpit of Pisa Cathedral
    N: Baptistery Pulpit of Pisa Cathedral
    D/P: 1260 Proto Renaissance
    A: Nicola Pisano
    Pa: Holy Roman Emperor Frederick II
    L: Pisa Cathedral, Italy
    M/T: made of marble, relief sculpture all around “balcony”. it is in high relief and figures are becoming more realistic
    F: what the pope (or other high clergymen of rank) stood on when making an important speech to address the people.
    C: Emperor Frederick fostered a Classical revival in Southern Italian courts.
    I: 6 sided structure with stairway and columns with leafy Corinthian capitals. Standing figures and an angel flank Gothic trefoil arches.
    South Doors, Baptistery of Florence Cathedral
    N: South Doors, Baptistery of Florence Cathedral
    D/P: 1336 Proto Renaissance
    A: Andrea Pisano
    Pa: unknown
    L:Florence, Italy
    M/T: gilded bronze
    F: they were doors that led to a cathedral (portal doors)
    C: depiction of the human body is much more accurate and realistic, similar to that of the classic greek style.
    I: 20 scenes from life of john the baptist
    Florence Cathedral
    N: Florence Cathedral
    D/P: 1300 proto renaissance
    A: Giotto diCambio
    Pa: unknown
    L: Florence, Italy
    M/T: strong set stone
    F: for religious ceremonies, gathering place for the city, mass, etc.
    C:The “florin” is the coin used throughout Europe. Florence = the daughter of Rome
    I: Built to be large enough to hold the entire city of Florence (actually would hold about 1/3 of the pop. 100,000)

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