Medieval 3 Flashcards
Cimabu, Enthroned Virgin and Child, altarpiece from Santa Trinità, Florence, c. 1280
- Curves of the throne are darker giving depth
- Angels are placed on top of one another
- Use of gold within the drapery to give folds of drapery
- Feet of the Virgin are hanging over the ledge
- Hand of the Virgin to point to the child
Giotto, Enthroned Virgin and Child, altarpiece from church of the Ognissanti (All Saints), Florence, c. 1280
- Angels are placed behind one another
- Virgin is more causal in pose and with presenting Christ
- Modeling in the legs and breasts within drapery
- Using gesture to give the figures a more human form
- Viewer sits below the scene because of the shadows under the chins
- Virgin is sitting under a curved arch and viewer sees under the arch
- Orthoginols- diagonals that are used to show depth
- Trait of Giotto to have more empty space
Duccio, front side of the Maestà altarpiece from Siena Cathedral, Siena Italy, 1311, tempera and gold leaf on wood
- Priest stands behind the altar
- Altarpiece sits behind the altar and the priest
- Predella- useful for narrative scenes because it runs horizontally, usually sits with a shelf under the altarpiece
- People are layered and foreshortened
- Mary’s fabric is modeled
Duccio, The Betrayal, back side of the Maestà altarpiece from Siena Cathedral, Siena Italy, 1311, tempera and gold leaf on wood
- Lots of drama and drapery on the sides of the painting
- Christ is standing in the center whispering and static
Annunciation of the Death of the Virgin, panel on the front of the Maestà altarpiece from Siena Cathedral, Siena Italy, 1311, tempera and gold leaf on wood
Giotto, Birth of the Virgin Mary, detail from the Arena Chapel, Padua, Italy, c. 1305, fresco, Patron: Enrico Scrovegni
- Two scenes happening
- Giornate- a days work, artist would paint one figure or so a day
- Patron: Enrico Scrovegni
- True fresco- (ouon fresco)- plaster itself is wet
- Box shape of chapel allows for more wall space
Giotto, Lamentation, Arena Chapel, Padua, Italy, c. 1305, fresco, Patron: Enrico Scrovegni
Patron: Enrico Scrovegni
- True fresco- (ouon fresco)- plaster itself is wet
- Box shape of chapel allows for more wall space
After Jesus was crucified, his body was removed from the cross and his friends mourned over his body.
Crucifixion, Nicola Pisano, Pisa Baptistery Pulpit, marble, 1260
large scale figures
Crucifixion, Giovanni Pisano, Pisa Cathedral Pulpit, 1302-1310
Son of Nicola Pisano
- Moving away from the classical rounded and squared forms
- Longer proportions of figures (more gothic style)
L and R: Jean Pucelle, Betrayal of Christ and Annunciation, Hours of Jeanne d’Evreux (New York, Cloisters Collection, Ms. 54.1.2), ff. 11v-12r, Paris, 1325-1328
- Italian influenced; group of people with modeled forms; the treatment of the box like room with an opened fourth wall
- Grisaille- monochromatic forms
- Orthoginal lines giving depth and Italian influenced
Psalter
- 150 Psalms
- Organized with the Psalms not chronologically but in a sequence of usage for a particular religious community of what the community does; can be arranged chronologically
- Originally made for monks on clerics
- Become more popular for meditation
- Sometimes includes calendars, gospels, and other texts
- Usually large books
- “The little hours of the Virgin” would sometimes be included in the Psalter; based on psalms and others additional text
- A way of praying to the Virgin
Book of Hours
- Eventually breaks away from being apart of the Psalters
- Includes a calendar, gospel lessons, penitential psalms, office of the dead, and hours of Mary
- Some of the most printed books of the middle ages; made with high care and good product
- The ways the prayers are arranged as to how they use them in a particular city- “the use”—might have feasts, holidays, etc. that aren’t included in one city but occur in one city
- Mostly produced in France and Flanders
- More rare in Italy
- Also used to teach people to read, educate women, educate children
- Made smaller and more portable
L and R: Jean Pucelle, Crucifixion and Adoration, Hours of Jeanne d’Evreux,Paris, 1325-1328
Psalter
- 150 Psalms
- Organized with the Psalms not chronologically but in a sequence of usage for a particular religious community of what the community does; can be arranged chronologically
- Originally made for monks on clerics
- Become more popular for meditation
- Sometimes includes calendars, gospels, and other texts
- Usually large books
- “The little hours of the Virgin” would sometimes be included in the Psalter; based on psalms and others additional text
- A way of praying to the Virgin
Book of Hours
- Eventually breaks away from being apart of the Psalters
- Includes a calendar, gospel lessons, penitential psalms, office of the dead, and hours of Mary
- Some of the most printed books of the middle ages; made with high care and good product
- The ways the prayers are arranged as to how they use them in a particular city- “the use”—might have feasts, holidays, etc. that aren’t included in one city but occur in one city
- Mostly produced in France and Flanders
- More rare in Italy
- Also used to teach people to read, educate women, educate children
- Made smaller and more portable
L: Ecclesia, South Portal, Strasbourg Cathedral, c. 1240
R: Synagoga, South Portal, Strasbourg Cathedral, c. 1240
- Ecclesia
- The Church
- Turning toward the portal/ church
- Synagoga
- The Synagogue
- Turning away from the portal/ church
- Blindfolded—Blind to Christ
- Broken spear- defeat
- The book in her hand is drooping
- Has a sense of grace and beauty and nobility
- Jewish people tended to live on the outskirts of the city
Last Supper, choir screen, Naumberg Cathedral, Germany, c. 1245-1260
- Peasants eating at a table
- Stocky and square figures—mostly how peasants were depicted
- It’s called a screen in the sense of legibility for viewer
Ekkehard and Uta, Naumberg Cathedral, Germany, c. 1245-1260
- Indentations under the eyes
- Cheekbone cover by youthful flesh
- Soft folded fabric
- Margrave is chubbier and square
- She is beautiful and features are very naturalistic
Matthew of Arras and Peter Parler, St. Vitus Cathedral, Prague, begun 1344
This is best exemplified in the vaults he designed for the choir. The so-called Parler’s vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern down the length of the cathedral.
Crucifixion (Kaufmann Crucifixion), Prague c. 1340
- hierarchy
Chapel of the Holy Cross, Karlstejn, panel paintings by Master Theodoric, 1360-1364
Master Theodoric, St. Luke, Chapel of the Holy Cross, Karlstejn Castle, Czech Republic, 1360-1364
Charles IV Places Passion Relics in a Reliquary Cross, Chapel of the Virgin, Karlstejn Castle, Czech Republic, 1357-1358
L and R: Virgin and Child, Prague, c. 1400
Richard II of England Presented to the Virgin and Child by Saints Edward, Edmund and John the Baptist (The Wilton Diptych), English?, c. 1395-1399
Papal Palace, Avignon, 1330s-1413
The Palais was built in two principal phases with two distinct segments, known as the Palais Vieux (Old Palace) and Palais Neuf (New Palace). By the time of its completion, it occupied an area of 11,000 m2 (118,403 sq ft). The building was enormously expensive, consuming much of the papacy’s income during its construction.
Matteo Giovannetti, Chapel of St Martial, Papal Palace, Avignon, 1344-1346
located on the second level of the Saint-Jean tower, the Saint-Martial chapel relates through painting the main parts of Saint Martial’s life. Matteo Giovanetti worked there in 1344 and 1345. The reading direction of the painting should be made from top to bottom.
All that is known about him may be summed up thus: Under the Emperors Decius and Gratius (AD 250-251), Pope Fabian sent out seven bishops from Rome to Gaul to preach the Gospel: Gatien to Tours, Trophimus to Arles, Paulto Narbonne, Saturnin to Toulouse, Denis to Paris, Austromoine to Clermont, and Martial to Limoges.
Matteo Giovannetti, Martial Listening to Christ Preach (L), St Peter gives Martial the Miraculous Baton (R), Chapel of St Martial, Papal Palace, Avignon, 1344-1346
He performed many miracles, among others the raising of a dead man to life, by touching him with a rod that Saint Peter had given him.
Matteo Giovannetti, Chapel of St John (Scenes from the life of John the Baptist), Papal Palace, Avignon, c. 1347
