Quiz 1
1) Describe in detail the attendance, cell phone, and laptop
policies described on the syllabus
2) The number of artworks illustrated in Gardner’s Art
through the Ages 13th edition (only) by women, chapters
14-25.
3) Total number of artworks illustrated in chapters 14
through 25.
4) Linda Nochlin’s thesis (her answer to the question the
title asks)
15 minutes
Compare Byzantine (left) style and content with High Renaissance (right)
(left) Bonaventura Berlinghieri, Saint Francis Altarpiece, 1235 and
(right) Raphael, Baldassare Castiglione, ca 1514, mastered illusionism
Compare (left) High Italian Renaissance Raphael, Baldassare Castiglione, ca
1514, with Vincent Van Gogh, Dutch Modernist, Portrait Dedicated to Paul
Gauguin, 1888
Compare Van Gogh (1888) Expressionism with Pablo Picasso (Spanish
Modernist) Portrait of Vollard, 1910, “School of Paris” Cubism
http://www.moma.org/audio_file/audio_file/82/411e.mp3
Andy Warhol, (US Pop Art), Gold Marilyn, 1962
Carsten Holler, Mirror Carousel, 2005. Installation view
Carsten Holler, Untitled (Slide), 2011. Installation view
Carsten Holler, Test Site, 2006. Installation view
Turbine Hall at the Tate Modern, London
http://www.tate.org.uk/modern/exhibitions/carstenholler/video.shtm
Carsten Holler, Untitled (Slide), 2011, Installation view
From Medieval to Renaissance:
Italy, 1200-1400
Map of the World
Italy Around 1400
Roman Forum. Italian Renaissance humanists – artists, writers,
architects – were inspired by Greco-Roman literature and art, evident in
ruins of classical culture that were part of their landscape.
Byzantine icon, St Nicholas, early
13th C. Greece
BONAVENTURA BERLINGHIERI,
panel from the Saint Francis
Altarpiece, San Francesco,
Pescia, Italy, 1235. Tempera on
wood, approx. 5’ x 3’ x 6”. A
leading painter in the ItaloByzantine style. Frontal pose
and use of gold leaf show his
Byzantine sources.
CIMABUE (“Bull’s Head”), Madonna
Enthroned with Angels and Prophets, ca.
1280–1290. Tempera on wood, 12’ 7” x 7’
4”. Galleria degli Uffizi, Florence. One of the
first artists to break with the Italo-Byzantine
style. A summary of Byzantine style, but the
throne recedes into space. Spatial
illusionism is a hallmark of Renaissance
representation.
Empirical art: “[Giotto’s] true
teacher was nature.”
GIOTTO DI BONDONE, Madonna
Enthroned, ca. 1310. Tempera on
wood, 10’ 8” x 6’ 8”. Galleria degli
Uffizi, Florence. Called the "Father
of Western Painting” why?
Compare Cimabue and Giotto. Is
Giotto’s style more empirical?
Roman maternal goddess, panel from the east facade of the Ara Pacis Augustae,
Rome, Italy, 13–9 BCE. Marble, approx. 5’ 3” high. Compare Giotto (1310) for solidity
of the body, a body that has weight.
Giotto, Interior of the Arena
Chapel (Cappella Scrovegni),
Padua, Italy, 1305–1306.
Fresco panels of the life of the
Virgin (top) and the life of
Christ (center and lower)
GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305
Fresco, 6’ 6 3/4” x 6’ 3/4” http://www.youtube.com/watch?v=ejFNt1ghvb0
What is fresco (method and medium)? Illusionism of 3 dimensions and expression
Anonymous Byzantine artist, Lamentation
over the Dead Christ, wall painting, Saint
Pantaleimon, Nerezi, Macedonia, 1164.
Compare Byzantine Lamentation (above)
with Giotto’s early Renaissance Lamentation
on the right, ca 1305
Sculptor ARNOLFO DI CAMBIO and others, Florence Cathedral (Santa Maria del
Fiore, view from the south), Florence, Italy, begun 1296. Campanile (free-standing
bell tower) by Giotto. Dome by Filippo Brunelleschi was built in the early 15th
century.
Compare Florence
Cathedral (above) begun
1296 with the Cologne
cathedral (left) begun
1248.
Nave of Amiens Cathedral (view
facing east), Amiens, France,
begun 1220.
Nave of Florence Cathedral
(view facing east), Florence,
Italy, begun 1296.
Palazzo Pubblico, Siena,
Italy, 1288–1309
Palazzo Pubblico, Siena, Italy, 1288–
1309
Ambrogio Lorenzetti, Peaceful City, detail from Effects of Good Government in
the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–
1339. Fresco.
Ambrogio Lorenzetti, Peaceful Country, detail from Effects of Good Government in
the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–
1339. Fresco. The first “real” (empirical) landscape painting – a portrait of a place.
Siena was decimated by the Black Death in 1348. Approximately half the population
died in the plague. The republic's economy was destroyed and the city-state quickly
declined from its position of prominence in Italy.
The Triumph of Death, 1325-50, Fresco, 18’6”x49’2”, Camposanto, Pisa
The Camposanto (sacred field), cemetery, Pisa, Italy
Francesco Traini (?) or Buonamico
Buffalmacco (?), The Three Living,
detail from The Triumph of Death,
fresco, 1325-50, 18’6” x 49’2”
Camposanto, Pisa
Corpses, detail from The Triumph of Death fresco, Camposanto, Pisa
Detail from The Triumph of Death, c. 1325-50, Camposanto, Pisa
Detail from Triumph of Death, c. 1348, Santa Croce, Florence. The Catholic
Church intensified preaching of guilt and penance following the Black Death.