From Gothic to Renaissance: The 14th Century in Italy
Pietro Cavallini,
Seated Apostles, ca. 1291
Fourteenth Century ItalyFigure 19-5
-The art of Pietro Cavallini (ca.1273
-1308) represented one style of the
Roman school of painting.
- An interest in the sculptural rendering of
form is characterized in this painting.
- This was not in the Roman style as
much as in the Byzantine style
- They are represented with a style of
solidity and strength
detail of the Last Judgment, Santa Cecilia in Trastevere,
Rome, Italy, Fresco
From Gothic to Renaissance: The 14th Century in Italy
Giotto Di Bondone,
Madonna Enthroned, ca. 1310,
Fourteenth Century Italy
Tempera on Wood,
Galleria degli Uffizzi, Florence
Giotto -his new form of painting displaced the Byzantine style and
established painting as a major form of art form for the next six centuries
- he restored the naturalistic approach invented by the ancients and
abandoned in the middle ages
- also had a method or pictorial expression based on observation
-Madonna is depicted in representational art with sculptural solidity and
weight
- The Madonna, enthroned with angles, rests within her Gothic throne
with the unshakable stability of an ancient marble goddess
- Her body is sturdy, queenly mother, bodily of this world, even to the
swelling of her bosom
- This art was aimed to construct a figure that has substance,
dimensionality and bulk
- Works painted in this new style portray figures, like those in sculpture,
that project into the light and give the illusion that they could throw
shadows
- In this painting the throne is deep enough to contain the monumental
figure and breaks away from the flat ground to project and enclose her
Figure 19-7
From Gothic to Renaissance: The 14th Century in Italy
Giotto Di Bondone,
Interior of the Arena Chapel , 1305-1306
(Cappella Scovegni),
Padua, Italy,
Fourteenth Century Italy
- projecting an illusion of solid bodies moving through
space on a flat surface presents a double challenge, to
do this an illusion of a space large enough to contain
the body must also be created
- the design of the building so perfectly fits the illusion
that its is suggested that Giotto is the architect too
- complete pictorial cycle of Christian Redemption,
created in 38 framed pictures on 3 levels
- the pictorial levels are on a neutral base with imitation
marble veneer alternates with the virtues and vices
painted in grisaill (monochrome grays, often used for
modeling in painting) to resemble sculpture
- the ceiling is blue, an azure sky symbolic of heaven,
the same blue is found in the backgrounds of the
panels and acts as a unifying effect
- The borders are complex and contrast the simple
images they surround
- the figures are sculpturesque, simple, and weighty, but
this mass does not preclude motion and emotion
- postures and gestures express a broad spectrum of
grief
Figure 19-8
From Gothic to Renaissance
Fourteenth Century Italy
- a single image from the Chapel
- this integration of formality with
emotional composition was never
achieved till Giotto
- the figures are grouped within a
constructed space and each group has
its own definition and each contributes
to the rhythmic order of the composition
- the new spatial depth and bodily mass
could not have been achieved without
the management of shade and light
- the figures are shaded to indicate both
the direction of the light that illuminates
them and the shadows
-The stage like setting was made
possible by Giottos innovations in
perspective and lighting
- Chiaroscuro- the use of dramatic
contrasts of dark and light to produce
modeling
- perspective- the depiction of threedimensional objects in space on a two
dimensional surface
Figure 19-9
Giotto Di Bondone,
Lamentation, ca. 1305
Arena Chapel, Padua, Italy,, Fresco
From Gothic to Renaissance: The 14th Century in Italy
Arnolfo Di Cambio and others,
Florence Cathedral begun 1296
(view from the South)
Florence, Italy.
Moving away from Medievalism
Figure 19-12
The Florence Cathedral was
recognized as the center of the
most important religious
observances in Florence. It was
begun in 1296 by Arnolfo di
Cambio and was intended to be the
“most beautiful and honorable
church in Tuscany.”
The building’s surfaces were
ornamented in the old Tuscan
fashion, with marble-encrusted
geometric designs matching it to
the eleventh-century Romanesque
Baptistery of San Giovanni.
The Cathedral focuses on horizontal aspects, rather than lifting itself
off the ground much like the Cologne Cathedral. The top dome has a
crisp, closed silhouette that sets it off emphatically against the sky
behind it.
From Gothic to Renaissance: The 14th Century in Italy
Moving away from Medievalism
Arnolfo Di Cambio and others, Florence
Cathedral (view from the South)
Florence, Italy. begun 1296
The Florence Cathedral was
recognized as the center of the
most important religious
observances in Florence. It was
begun in 1296 by Arnolfo di
Cambio and was intended to be the
“most beautiful and honorable
church in Tuscany.”
The building’s surfaces were
ornamented in the old Tuscan
fashion, with marble-encrusted
geometric designs matching it to
the eleventh-century Romanesque
Baptistery of San Giovanni.
The Cathedral focuses on horizontal aspects, rather than lifting itself
off the ground much like the Cologne Cathedral. The top dome has a
crisp, closed silhouette that sets it off emphatically against the sky
behind it.
Figure 19-12
From Gothic to Renaissance: The 14th Century in Italy
Nave of Florence Cathedral
(view facing east)
Florence, Italy. begun 1296
Moving away from Medievalism
The nave of the Florence Cathedral appears to have been
added to the crossing complex as an afterthought;
however, the nave was built first.
The nave is the area that leads to the area beneath the
dome, which is the design’s focal point.
The Florence nave bays (shown in this photo) are twice
as deep as those of Amiens, and the wide arcades permit
the shallow aisles to become part of the central nave,
thus resulting in an interior of unmatched spaciousness.
As on the outside of the Cathedral, the accents are on the
horizontal aspects. The substantial capitals of the piers
prevent them from soaring into the vaults and emphasize
their function as supporters.
Figure 19-13
From Gothic to Renaissance: The 14th Century in Italy
Nave of Florence Cathedral
(view facing east)
Florence, Italy. begun 1296
Moving away from Medievalism
The nave of the Florence Cathedral appears to have been
added to the crossing complex as an afterthought;
however, the nave was built first.
The nave is the area that leads to the area beneath the
dome, which is the design’s focal point.
The Florence nave bays (shown in this photo) are twice
as deep as those of Amiens, and the wide arcades permit
the shallow aisles to become part of the central nave,
thus resulting in an interior of unmatched spaciousness.
As on the outside of the Cathedral, the accents are on the
horizontal aspects. The substantial capitals of the piers
prevent them from soaring into the vaults and emphasize
their function as supporters.
Figure 19-13
From Gothic to Renaissance: The 14th Century in Italy
Nave of Santa Maria Novella,
Florence, Italy. 1246-1470
Moving away from Medievalism
The Florentine government and contributions from private
citizens subsidized the commissioning of the Dominicians’
Santa Maria Novella around 1246. These orders attracted
such large amounts of people, forcing for the expansive
scale of the Cathedral.
Marble striping along the ogival arches and small oculi
(round openings) punctuate the nave. In the original plan,
a tramezzo (screen) was placed across the nave,
separating the friars from the lay audience; the mass was
performed on separate altars on each side of the screen.
This screen was removed by church officials in the midsixteenth century to encourage greater lay participation in
the Mass.
The Rucellai, a Florentine family, commissioned the
facade for Santa Maria Novella from the architect Leon
Battista Alberti in the mid-fifteenth century.
Figure 19-14
From Gothic to Renaissance
The Fourteenth Century In Italy
The tabernacle of the Virgin Mary in Florence’s Or San
Michele is the work of two “Giotteschi” (followers of
Giotto), Andrea Di Cione, known as Orcagna and
Bernardo Daddi.
Orcagna produced the work’s of architecture and
sculpture, and Bernardo Daddi painted the panel of the
Madonna, which the tabernacle enshrines.
This piece is inside a church named San Michele which
was originally a grain market.
Figure 19-15
Andrea Orcagna and Bernardo Daddi
Madonna and Child with Saints
Florence, Italy
From Gothic to Renaissance: The 14th Century in Italy
Duccio Di Buoninsegna, Virgin and Child
Enthroned with Saints, Principle panel of the Maesta
Fourteenth Century Italy
alterpiece, from the Siena Cathedral, Siena, Italy, 1308-1311,
Tempra on wood panel
Figure 19-16
- Part of a large altarpiece called the Maesta, he carved his name into the base of the Virgins throne
- Depicts the Virgin enthroned as the Queen of Heaven amid angels and saints
- the compositions formality, symmetry, and faces of the figures all come from Byzantine tradition but they are
slightly relaxed, the faces on the figures are individualized and there movements are softened
- part of a new naturalism, full of color, composition and texture manipulation
- the influence of China and the Middle East can be seen in the texture and composition of the fabrics that the
figures are wearing
From Gothic to Renaissance: The 14th Century in Italy
Moving away from Medievalism
Duccio Di Buoninsegna, detail from the back
of the Maesta altarpiece from the Siena
Cathedral. Siena, Italy. 1309-1311
This piece is representation of
several episodes of Jesus’
betrayal, including the Kiss of
Judas, the disciples fleeing in
terror, and Peter cutting off the ear
of the high priest’s servant.
Image goes here
The golden sky remains
traditional, however, the figures
are not depicted as they were in
earlier Byzantine art. Duccio gives
the figures depth, emotion on their
faces, and adorns them with
clothing that drapes around them
convincingly.
The figures display a variety of
emotions, reacting to what is
happening around them.
Delete this text before placing the
image here.
Figure 19-17
Notice the different expressions on the faces of those depicted
in the piece. Peter’s anger is evident, while Judas shows malice
toward Jesus, and the disciples show apprehension and
timidity.
From Gothic to Renaissance: The 14th Century in Italy
Duccio Di Buoninsegna, detail from the back
of the Maesta altarpiece from the Siena
Cathedral. Siena, Italy. 1309-1311
From Gothic to Renaissance: The 14th Century in Italy
Moving away from Medievalism
Duccio Di Buoninsegna, detail from the back
of the Maesta altarpiece from the Siena
Cathedral. Siena, Italy. 1309-1311
This piece is representation of
several episodes of Jesus’ betrayal,
including the Kiss of Judas, the
disciples fleeing in terror, and Peter
cutting off the ear of the high
priest’s servant.
Image goes here
The golden sky remains traditional,
however, the figures are not
depicted as they were in earlier
Byzantine art. Duccio gives the
figures depth, emotion on their
faces, and adorns them with
clothing that drapes around them
convincingly.
The figures display a variety of
emotions, reacting to what is
happening around them.
Delete this text before placing the
image here.
Figure 19-17
Notice the different expressions on the faces of those depicted in the piece.
Peter’s anger is evident, while Judas shows malice toward Jesus, and the
disciples show apprehension and timidity.
From Gothic To Renaissance
The Fourteenth Century In Italy
Simone Martini and Lippo Memmi
Annunciation, 1333
Galleria degli Uffizi, Florence
Martini’s own style did not quite reach the full
exuberance of the developed International Style.
This is piece is a very famous altarpiece.
Elegant shapes and radiant color: flowing,
fluttering line; and weightless figures in a
spaceless setting characterize the Annuciation.
Image goes here
The complex etiquette of the European chivalric
courts dictated the presentation. The angel
Gabriel has just alighted, the breeze of his
passage lifting his mantle, his iridescent wings
still beating. The gold of his sumptuous gown
heraldically represents the celestial realm
whence he bears his message. The Virgin,
putting down her book of devotions, shrinks
demurely from Gabriel’s reverent genuflection,
an appropriate gesture in the presence of
royalty.
Lippo Memmi’s contribution is questioned and a
matter of debate.
Delete this text before placing the
image here.
Figure 19-18
From Gothic to Renaissance: The 14th Century in Italy
Moving away from Medievalism
Pietro Lorenzetti, The Birth of the Virgin,
from the Altar of Saint Savinus, Sienna
Cathedral, Siena, Italy. 1342
Pietro Lorenzetti painted this piece for the
Siena Cathedral as part of a program
honoring the Virgin Mary. He painted the
members of the work in three compartments
which seem as though they extended into the
wooden panels. Viewers would see the
figures through a faux wooden frame. This
illusion is strengthened by one of the vertical
members cutting across one of the figures,
blocking part of it from view.
Figure 19-19
From Gothic to Renaissance: The 14th Century in Italy
Pietro Lorenzetti,
The Birth of the Virgin, 1342
Moving away from Medievalism
from the Altar of Saint Savinus, Sienna
Cathedral, Siena, Italy.
Pietro Lorenzetti painted this piece for the
Siena Cathedral as part of a program
honoring the Virgin Mary. He painted the
members of the work in three compartments
which seem as though they extended into the
wooden panels. Viewers would see the
figures through a faux wooden frame. This
illusion is strengthened by one of the vertical
members cutting across one of the figures,
blocking part of it from view.
Figure 19-19
From Gothic To Renaissance
The Fourteenth Century In Italy
This building earned the admiration of citizens of the
city-state as well as visitors, inspiring in them respect
for the city’s power and success.
Symmetrical in its design than most buildings of its type
and period, it abuts a lofty tower, which is one of the
finest in Italy.
This tall structure served as lookout over the city and
the countryside around it and as a bell tower for ringing
signals of all sorts to the populance.
The city, a self-contained political unit, had to defend
itself against neighboring cities and often against kings
and emperors.
In addition, it had to be secure against internal
upheavals common in the history of the Italian cityrepublics.
Feuds between rich and powerful families, class
struggle, even unprisings of the whole populance
against the city governors were constant threats.
Figure 19-20
Palazzo Pubblico
Siena, Italy
1288-1309
From Gothic to Renaissance
The Fourteenth Century In Italy
Ambrogio Lorenzetti
Peaceful City, 1338-1339
Siena Italy
Image goes here
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image here.
“Peaceful City” is a panoramic view of Siena, with its clustering palaces, markets, towers, chruches, streets, and walls.
The city’s traffic moves peacefully, the guilds’ members ply their trades and crafts, and a cluster of radiant maidens,
hand in hand, perform a graceful circling dance.
The artist fondly observed the life of his city, and its architecture gave him an opportunity to apply Sienese artists’ rapidly
Figure 19-21
growing knowledge of perspective.
From Gothic to Renaissance
The Fourteenth Century In Italy Figure 19-22
Ambrogio Lorenzetti
Peaceful City, 1338-1339
Siena Italy
Image goes here
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image here.
“Peaceful Country” presents a bird’s-eye view of the undulating Tuscan countryside--its villas, castles, plowed farmlands, and peasants going
about their seasonal occupations.
An allegorical figure of Security hovers above the landscape, unfurling a scroll that promises safety to all who live under the rule of the law.
“Peaceful Country” represented one of the first appearance of landscape in Western art since antiquity.