14th-Century Europe: Imagery [CHRONOLOGICAL] Flashcards
When does the Virgin and Child Enthroned (Cimabue) originate? What does the piece provide to the context of 14th-century European art?
Cimabue, Virgin and Child Enthroned, c.1280, Tempera on gold wooden panels, Late medieval/ Proto-Renaissance.
- Experimentation with naturalism– made figures and objects in space like seen in nature (optical experience). Inclusion of recession and space: clothing and angels interaction= 3D
-Traditional features of Italian gothic artwork: gold backgrounds–> creates uniformity and spiritual effect. Gold heightened opulence and heavenly nature of the figure. Inclusion of Hierarchy of scale and linear definition in Mary’s robe
- No visual logic (yet), not anatomically accurate, highlight and shading.
When does the Virgin and Child Enthroned (Giotto) originate? What does the piece provide to the context of 14th-century European art?
Giotto, Virgin and Child Enthroned, c. 1305-10, Tempera on Gold and Wooden Panel, Late Medieval/ Proto-Renaissance
- Abandons gold highlights, uniformly uses highlights and shadows to suggest fabric and fluidity (clinging to a physical body and suggestion of thick and thin garments)
- Convincing optical recession (Mary sitting within a space)
-Halo’s rendered as a flat surface (similar to Cimabue) –> interest of patrons wanting naturalistic art.
When does the Lamentation originate? What does the piece provide to the context of 14th-century European art?
Giotto, Lamentation, c.1305-6, Fresco, Proto Renaissance.
- Scenes create continuity and connection from on narrative scene to the next–> central figures don’t appear in the center/ no usage of hierarchal scale; primary figures off-centered. Experimentation with perspective w/figures poses and a wide range of emotion.
- Experimentation with 3-dimensional space and foreshortening (figures ability to approach and turn their back on a flat canvas)
When does the Annunciation originate? What does the piece provide to the context of 14th-century European art?
Simone Martini and Lippo Memmi, Annunciation, c.1333, Tempera and Gold on Wooden panel, Late Medieval/ International Gothic
- Physical dimensionality of the figures and space heightening naturalism and optical observation.
- Medieval: more slender forms; thin, attenuated, and sinew. Curviness in pose. EMPHASIS OF OPULENCE AND ELEGANCE. –> Opulence in abundance in gold–> luxury materials indicate nobility and drapes over the body of the figures.
When does the Effects of Good Government in the City and the Country originate? What does the piece provide to the context of 14th-century European art?
Ambrigo Lorenzetti, the Effects of good government in the city and the country, 1338-39, Fresco, Proto-Renaissance
- Attempts at perspective and replication of specific places and features recognizable forms–> Cathedral of Siena.
- Reinforces growing interest in naturalism in observation and replication.
- Prosperity of the city suggested from the lush green hills and tilled land. Allegorical figure: identified as security and extolls virtues and benefits of justice.
-Urban life in Medieval Europe: Markets=local and global economies–> interconnectivity
