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Lecture

2.2 ARTH 213, September 21st

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Department
Art History
Course
ARTH 214
Professor
Cathleen Hoeniger
Semester
Fall

Description
ARTH 213 Renaissance Art and Architecture Friday, September 21 2012t Duecento Art in Rome (and Assisi) and Florentine Art of the Early Trecento Coppo di Marcovaldo. Crucifix. Pinacoteca, San Gimignano. Second half of the thirteenth century  Local traditions and styles as well as international styles that are grafted onto these  First important Florentine artist – we have documentation of him because he was captured during a war o Legend has it that he gained his freedom by painting a major work of the Virgin Mary for the town of Sienna  Depicts the dead Christ, much more emotional – as opposed to a triumphant Christ which would depict Christ triumphant over death – from here on out there would mostly be images of Christ dead or dying on the cross  Almost a lament on the cross  The apron of the cross (the panels around his torso) shows narrative scenes of the life of Christ  These crosses would have been hanging fairly high in churches, making it difficult to see the narrative scenes  Different idea of realistic depiction: they would have seen the body differently than we do today – but there certainly is an effort to move towards realism  Attempt to show the ribs and the abdomen, as well as the folds in the drapery  The twist in the abdomen looks like it could be an attempt to add some depth to the panel  Christ is the meant to be the right hand of God, therefore it makes most sense for him to fall to his right side, the left is the side of the damned Panel Painting  At the time would use local woods, like poplar, to produce panel paintings o Panel paintings were primarily made for churches, except for individual portraits which would have been privately commissioned o Primarily of Christ or the Madonna – often Byzantine types o Also portraits of the Saints o Heavy Byzantine influence in terms of style Coppo di Marcovaldo. Madonna and Child. S. Martino dei Servi, Orvieto. C. 1264  Hodegetria o The Virgin is enthroned (the throne does change over time) o She is often crowned (a scene from Heaven) because she appears as her manifestation as the Queen of Heaven o Sometimes she’s depicted as the Queen of humility – without a crown, in the grass  She’s turned to one side – giving a ¾ view  The Christ child is in her lap  Even once naturalism is introduced there is still a strong Byzantine influence o Application of the golden lines on top of the paint called ‘Crysography’ – straight from the Byzantine tradition – the whole robe would shimmer, generally applied if a figure is in their divine state Cimabue. Enthroned Madonna and Child with Angels and Prophets. Uffizi Gallery. C. 1280  Santa Trinita Madonna o This painting of the virgin Mary was made for the Santa Trinita Church o Often altar pieces are named after the church for which they’re made  Hodegetria Madonna o Typical depiction with Christ on her left hip  Very elaborate throne – inlaid patterns of different colours of wood to give it more superficial beauty  Multiple levels indicate hierarchy: on to
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