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Lecture

8.2 ARTH 213, November 2nd

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Department
Art History
Course
ARTH 214
Professor
Cathleen Hoeniger
Semester
Fall

Description
ARTH 213 Renaissance Art and Architecture Friday, November 2 nd2012 Chapter 9 – The Heritage of Masaccio
 The Second Renaissance Style Themes: 
 • Composition.
 • Space.
 • Perspective. • Hone the idea of how to create illusionistic space.
 • Gestures (from Giotto)
 • Sense of drama. 
 • Sense of naturalism (even if it seems forced)
 • Architecture. 
 • Familiar colours.
 • Lines, we see where the works are being created.
 • Idea of humanism in art. 
 o Looking at things to do with the here and now, earthly.
 o Translating ancient texts, how can I do good on earth now?
 o Different from medieval thoughts, the self was a terrible thing that lived for the afterlife. 
 o Changes a bit, living in the here and now righteously in order to achieve the afterlife. 
 o Think of the story of the Arena Chapel commission. - Peace between Florence and Milan that art begins to flourish. 
 - Gothic style becomes less important. 
 - Signifier of imperial wealth.
 - Florence is a Republic.
 - Cosimo comes back into the city and art changes. 
 - Manipulated lotteries. 
 - How did the Medici assert themselves into these images. 
 - Show their power through art. 
 - Other banks decline as they rise. • Fra Angelica. Descent from the Cross, Probably completed 1434. Panel. Commissioned by Palla Strozzi for his buria chapel in the Sacristy of Sta. Trinita, Florence. (remember the accent on Trinita)
 o Monk, inspired by Donatello and Ghiberti. 
 o New common style.
 o Artists and patrons are aware of artistic genius. 
 o People want the best.
 o Service of the Dominican order. 
 o Became Arch Bishop of Florence. 
 o Close ties with the Church, divinely inspired.
 o “Angelic painter”
 o Cosimo di Medici take over and takes the work from Strozzi. 
 o Gothic tracery anchors the image.
 o Deposition scenes. 
 • Demonstrates the moment Christ is taken down from the Christ.
 o Christ being lowered by his Apostles. 
 o Dead bodies are heavy, but not this body.
 o Attention to detail in the delicate moment. 
 o Through his hands, etc. 
 o Virgin clasps her hands together in mourning.
 o Mary Magdalene kisses Christ’s feet. 
 o Small, private moments.
 o Subtle, delicate. 
 o Exploits the Gothic.
 o Asserts the architectural program into the background; cityscape of Old Jerusalem.
 o Storm in the background.
 o Trouble is coming. 
 o Hills of the Tuscan landscape.
 o Florentine work. 
 o Familiar landscape.
 o We are meant to be standing on the hill with the Crucifixion. 
 o Cathartic experience. 
 o Dramatization. 
 o Mourners frame the scene.
 o Levels of framing.
 o Classically inspired body. 
 o Emotions come from the people in the scene, not the wounds of Christ.
 o Christ is till untouchable. • Fra Angelica. The Annunciation and Scenes from the Life of the Virgin. C. 1432-34. Panel. 
 o Framed with a portico. 
 o Classicism through the Corinthian columns. 
 o Panel divided into three main parts.
 o Angel, virgin, some sort of garden.
 o Use of space utilized. 
 o Sense of perspective. 
 o Detail underscores the realism of the space. 
 o Star studded ceiling.
 o We can see into Mary’s bedroom
 o Curtain pulled aside. 
 o Deep attention to textiles used. 
 o How can these patterns fit into space?
 o Angel on one knee as he delivers the message.
 o The dialogue of the scene is should on the panel, floating through the air. 
 o The drama is on the panel for the viewer. 
 o Emphasized through gestures.
 o Garden symbolizes the virginity of Mary.
 o Predella contains scenes from the life of the Virgin. 
 o Possible scenes from the Garden of Eden in the background of the garden. • Fra Angelico. Madonna with Saints (S. Marco Altarpiece) in conjectural reconstruction from the front and two ends, c. 1438-40. 
 o Presented like it’s on stage.
 o Heavily constructed.
 o Framed with gold curtains an a luxurious caret.
 o Hodigetria. 
 o Set within a Renaissance niche. 
 o Corinthian is the highest order of column.
 o Festoons. 
 o Joyous scene. 
 o Attention to luxury. 
 o Objects are made because they are important, precious. 
 o Anatolian carpet. 
 o Sense of perspective. 
 o Everything leads to the Virgin.
 o Way of reading the image. 
 o Important formula of how the guide the eye.
 o Employs groups of figures. 
 o Medici coat of arms on the carpet.
 o Shows who is paying for the image.
 o Small scene of Crucifixion at the bottom. 
 o Imitate what would often be placed on the altar.
 o Levels of reality. 
 o Painting, frame of crucifixion, viewer.
 o Playing with space. 
 o Where is the viewer supposed to be.
 o St. Cosmus, Patron Saint. 
 o Attention to detail, nature.
 o Trees, fruit trees, etc. 
 o Tree of life idea, sense of reality. 
 o Christ holding an or (?)
 o Text on the Virgin’s robes.
 o Systematic perspective that leads the eye back.
 o Invites you to look at all the figures. • Fra Filippo Lippi. Madonna and Child (Tarquina Modonna) 1437. Panel.
 o He was a Nun while in the Church.
 o Inspired by Masaccio.
 o Botticelli’s teacher. 
 o Definite sculptural quality. 
 o Playing with perspective.
 o Putting the scene on stage.
 o Absence of halo. 
 o Christ child looks very different. 
 o Props himself up and pulls himself closer to his mother.
 o Shows a more tender and intimate moment between mother and child. 
 o Life-like. 
 o Sense that they are actually in the space. • Fra Filippo Lippi. Annunciation. C. 1440. Panel. S. Lorenzo Florence. Probably commissioned by a member of the Martelli Family for their family Chapel. 
 o Orthogonals. 
 o Sense of depth. 
 o Sense of perspective. 
 o Sets the scene on a stage. 
 o Mary’s gestures create a sense of emotion. 
 o Similar to Angelico’s
 o Two angels serve as the witnesses.
 o They look outwards. 
 o Albertian technique of creating drama. 
 o Reminiscent of religious plays.
 o Ephemeral artwork. 
 o Little vase in the front.
 o Hovers between the viewer and the reality of the painted scene.
 o Playing with levels of reality.

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