14thc. in Europe Questions Flashcards
Describe Madonna and Child and Tabernacle
- Bernardo Daddi. Tempera and gold on wood panel.
1355-59. Andrea Orcagna. Orsanmichele, Florence. MArble, mosaic, gold, lapis lazuli.
-second replacement.
orsanmichele = grain market and warehouse
Describe The Triumph of Death
1330s. Mater of the Triumph of Death (Buffalmacco?). Fresco. Pisa.
- horror and terror of impending death
- center, dead people lie in heaps while devils and angels carry their souls.
- right, wealthy people listen to music, unaware of death.
- left, group on horseback observe themselves in coffins.
- beggars who beg death to free them from earthly miseries
Describe Piazza della Signoria with Palazzo della Signoria (Town Hall) and Loggia del Lanzi
1299-1310. and 1376-82. (Florence)
- town hall faces large square.
- loggia provided cover space for ceremonies and speeches.
- master builders: Berici di Cione and Simone Talenti.
Describe Florence Cathedral (Duomo)
1296-1378. Arnolfo di Cambio, Francesco Talenti, Andrea Orcagna
- sculptors and painters designed instead of architects, so lead to problems.
- long, square-bayed nave ends in octagonal domed crossing.
Describe Life of John the Baptist (bapistry doors)
1330-36. Andrea Pisano. Florence. Gilded bronze
- 20 scenes from life of John set above 8 personifications of the Virtues
- reliefs framed by quatrefoils.
- reliefs in style inspired by Giotto
Describe Virgin and Child Enthroned (Church of Santa Trinita)
- Cimabue. Tempera and gold on wood panel.
- uses traditional Byzantine iconography
- surrounded by saints, angels, and OT prophets
- employed Byzantine formulas in proportions of figures, placement of schematic features, and tilt of haloed heads.
- highlighted drapery with thin lines of gold to indicate divinity.
- concern for spacial volumes, solid forms delicately modeled in light and shade, warmly naturalistic human figures
Describe Virgin and Child Enthroned (Church of the Ognissanti)
1305-10. Giotto di Bondone. Tempera and gold on wood panel.
- exhibits groundbreaking spatial consistency and sculptural solidity
- central and overtly symmetrical composition and position of figures reflect Cimabue’s influence.
- Mary’s face is individualized and natural action.
Describe Scrovegni (Arena) Chapel
- Giotto di Bondone. Northern Italy.
- dedicated to Virgin of Charity and of the Annunciation.
- built on ruins of ancient Roman arena
- simple, barrel-vaulted room.
- stories of Mary and Jesus on rectangular panels.
- base of faux marble and allegorical grisaille support vertical bands
Describe Marriage at Cana, Raising of Lazarus, Resurrection, etc.
- Giotto di Bondone. Arena Chapel.
- raising of Lazarus references Jesus’s resurrection.
- wedding at Cana = wine as blood of Christ at Eucharist.
- Lamentation leads to the Resurrection as indicated by angels at the empty tomb.
- Noli Me Tangere (Do not touch me)
- juxtaposition of alive and dead trees tell death and resurrection.
- reminiscent of tableaux vivants (living pictures) where people dressed in costume and re-created poses from familiar works of art.
Describe Lamentation
GIOTTO DI BONDONE. Arena Chapel.
- focused composition off center for maximum emotional effect
- bare tree on ridge = medieval symbol of death.
- mourning angels mirror his followers’ anguish.
- John the evangelist flings his arm back in despair.
- conveys real human sorrow.
- Franciscan values of direct, emotional appeal and deliberate plainness.
Describe Virgin and Child in Majesty (Maesta)
1308-11. Duccio di Buoninsegna. Tempera and gold on wood panel.
- for the high altar of Siena Cathedral
- Mary and Christ, adored by angels and four patron saints of Siena kneeling in front.
- Virgin and Child represents Church and the Siena Cathedral.
- predella painted with events in childhood of Jesus.
- back painted with scenes of his adult life and miracles.
- topped with pinnacles
- soft style with linear grace and easy relationship between figures and setting (French Gothic)
- central, most holy figures retain solemnity and immobility with realistic touches.
- adoring saints reflect more naturalistic, courtly Gothic style.
- brilliant palette (pastels + primary hues), delicately patterned textiles that shimmer with gold, and ornate punchwork are characteristically Sienese.
Describe Nativity with Prophets Isiah and Ezekiel
Duccio. Predella of Maesta.
- Nativity represented in tradition of Byzantine icons.
- Mary lies on a fat mattress within a cave hollowed out of a jagged, stylized mountain.
- Jesus appears twice: lying in the manger and with midwife below.
- light, intense colors, and calligraphic linear quality
- shepherds and sheep add realistic touch
Describe Fresco Series of the Sala Della Pace (chamber of peace), Palazzo Pubblico (city hall)
1338-40. Ambrogio Lorenzetti. Siena.
- depict results of good and bad government.
- on short wall, figure symbolizing the Commune of Siena, enthroned like an emperor holding an orb and scepter and surrounded by Virtues.
- Justice, assisted by Wisdom and Concord, oversees the local magistrates.
- Peace lounges on a bench against a pile of armor, having defeated War.
- figure is based on a fragment of a Roman sarcophagus in Siena
Allegory of Good Government in the City and in the Country
Lorenzetti. Salla della Pace. Fresco.
- idealized but recognizable portrait of Siena.
- strets are filled with productive citizens.
- Porta Romana (Siena’s gateway to Rome) divides city from country.
- over portal is Romulus and Remus statue.
- woman hovering outside gate clad in transparent drapery with scroll in one hand a miniature gallows with a hanged man represents Security.
- her scroll bids those entering the city to come in peace.
- gallows is reminder of consequences of not doing so.
- Ambrogio maintained an overall visual coherence and kept all parts of the flowing composition intelligible.
- maintained natural relationship between figures and environment.
- conveys vision of orderly society of peace.
Describe Pages with Betrayal and Arrest of Christ and Anunciation
1325-28. Jean Pucelle. Paris. Grisaille and color on vellum.
- from the Book of Hours of Jeanne D’evreux
- Charles IV gave to Jeanne.
- Queen Jeanne appears in the initial below the Annunciation.
- inclusion of patron in prayer within scene conveyed idea that scenes were visions inspired by meditation rather than historical events.
- Annunciation (joy) is paired with sorrow.
- Annunciation - Mary is shown receiving archangel Gabriel in Gothic clothing.
- frolicking children above appear to be playing tag or other game. in medieval times, symbolized mocking of Christ or betrayal of Judas because he tags his friends.
- in Betrayal, Judas embraces Jesus. Bas de page shows knights riding goats and jousting at a barrel stuck on a pole, spoof of military that may comment on lack of valor of the soldiers assaulting Jesus.
Describe Virgin and Child
- Silver gilt and enamel.
- ex-treasure of Abbey Church of Saint-Denis.
- inscription on base bears date and donor’s name, Queen Jeanne.
- Virgin holds Jesus in her left arm, her weight on her left leg, creating graceful S-curve (characteristic of period)
- Fluid drapery, suggesting consistency of heavy silk
- originally wore crown, scepter topped with a large enameled and jeweled fleur-de-lis (symbol of French royalty)
- scepter served as reliquary for Mary’s hair.
- face anticipated Beautiful Mother imagery
- realism in Jesus through babylike proportions and gestures
- enameled base of Christ’s Passion
Describe Attack on the Castle of Love
1330-50. Paris. Ivory box with iron mounts.
- God of Love shoots flowers as missiles and joust with flowers.
- tournament in front of Castle of Love.
- women watch jousting knights. on left, knights use crossbows and catapult to hurl roses at the castle, while God of Love helps women by aiming his arrows at the attackers.
- on right, tournament’s victor and his lady love meet in a playful joust of their own.
Describe Life of the Virgin (back of the Chichester constable chasuble)
1330-50. Red velvet with silk and metallic thread and seed pearls.
- on liturgical vestment
- resembles burnished gold-leaf backgrounds of manuscript illuminations.
- Annunciation, Adoration of the Magi, and Coronation of Virgin are set in cusped, crocketed ogee (s-shaped) arches amid twisting branches spouting oak leaves, seed-pearl acorns, and animal masks.
- star and crescent moon in Coronation are heraldic emblems of Edward III.
Describe Exeter Cathedral
14th c. England.
- Decorated style. diamond-shaped piers covered with colonenettes.
- VERY DECORATED.
- Perpendicular style. rectilinear patterns and sharp angular shapes. simple stripped-down patterns.
Describe Church of the Holy Cross
- Germany. Heinrich and Peter Parler
- choir designed in the manner of a hall church of enlarged triple-aisle form with ring of deep chapels between buttresses of the choir.
- unity of space was enhanced by complex net vault - veritable web of ribs created by eliminating transverse ribs and ridge ribs.
- complexity led to unified interior space of Renaissance.
Describe Saint Wenceslas Chapel, Cathedral of Saint Vitus
Peter Parler and workshop. Prague. 1356. Tabernacle. gilded iron.
-suggests richness and elaborateness of Peter’s work.
Describe Saint Luke
Master Theodoric. 1360-64. Prague. Paint and gold on panel.
- might be self-portrait since looking out at viewer.
- style: heavy bodies, oversized heads and hands, dour and haunted faces, and soft, deeply modeled drapery (merged from French Gothic to become Beautiful style)
Describe “Beautiful” Virgin and Child
- Limestone with paint and gilding.
- sweet-faced Virgin and Child.
- complex drapery.
- v-shaped folds and clusters of vertical folds end in rippling edges surround infant to create feeling of a fleeting moment.
- emotions are restrained.
Describe Vesperbild
- Germany. Wood.
- blood gushes from rosettes that are the wounds of Jesus.
- Virgin’s face shows intensity of her ordeal, mingling horror, shock, pity, and grief.
