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Lecture

January 27th, 2014.docx

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Department
Art History
Course
ARTH 2550
Professor
Sally Hickson
Semester
Winter

Description
January 27 , 2014 - Moving away from chronological to spatial continuum. Brancacci commissioned the cycle - Pietro name of patron therefore depicted life of St Peter - Work left unfinished, Masaccio died and Masolino moved on to other projects - Finished by Lippi Masaccio, tribute money, fresco, 1420s, Brancacci Chapel, Florence (8.9) Masaccio, expulsion of Adam and eve (before and after restoration), fresco, Brancacci Chapel, 1420s (8.14) - Less of colorist like Grotto, more of a sculptor - Suggestion of movement - More emotional - Very explicitly quoting antiquity; eve modeled off of modest Venus- gesture of modesty and shame because she ate from the tree of knowledge and she is now self-aware (knows she is naked and needs to cover up) - Asculpture of modest Venus was owned by Medici family - Appropriate in the context of this particular story - Use of classical heroic nudity - Concerned with anatomical proportions - Moving into new phase of the renaissance - Logical concept of space - Adam o Covering his face showing shame like eve - Classicism had an understanding of light and volume - Fallen from grace and enter the light of reason and harsh reality - Very finely contoured in light and dark considering its fresco (tempera was used) Masolino, Temptation of Adam and Eve (before and after restoration), fresco, Brancacci Chapel, 1420s (8.14) - Late gothic tradition - No emotion - Gestures don’t show any emotional veneer - Not anatomically proportions - No shadows to anchor the figures in space - No sense of spatial depth - just darkness behind them - No fidelity - Pushes image to the surface; weightless - Figures aren’t modeled from classical/antiquity nudes - Female figure is very imagined - Very frontal The Tribute Money, before and after cleaning - Experimenting with different forms of narrative - Probably included to make reference to the imposition of a contemporary Florentine tax called the catasto - Christ in the center - St. Peter in yellow and blue - Giotto’s trick of having someone’s back to us to invite us in/seeing things from our point of view; breakdown the wall between us and the painting - Replication of Peter o 1) Christ tells him to fish for coins to pay the tax o 2) He gets the coins from the mouths of fish o 3) Pays the tax collector - Christ refuses to pay; trying to differentiate between the divine and the earthly - Circular narrative; hard to follow because no set system of organization for the flow of the narrative for artists to follow - Using aspects of Brunelleschi; one point perspective with Christ as the vanishing point/pulls us in the direction of the narrative - Hole near Christ’s head where a nail was probably placed and artist snapped in a line in the plaster to follow for the perspective so that it didn’t need to be drawn in - No one had written rules/guidelines for one point yet so perspective wasn’t scientific/mathematical - Christ and theApostles -
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