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Lecture

January 29th, 2014 - 2.docx

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Department
Art History
Course
ARTH 2550
Professor
Sally Hickson
Semester
Winter

Description
January 29 , 2014 Dominican monastery of San Marco - Medici - buying their way into the government - Cosimo had a cell there for when he wanted to retire from public life The monastery hallways, San Marco, Florence - Different life of Christ and passion of Christ frescoes in each cell - Induce a state of contemplation FraAngelico, the mocking of Christ, cell fresco from the monastery of San Marco, Florence, 5.9 - Very imaginative - Essentializing important main figures - Illusionism- visionary process - Christ’s gaze has been compromised to allow the viewer in - Disembodied figures/space Lorenzo Monaco, Man of sorrows with instruments of the passion, before 1425 - Iconographical/traditional with new techniques used - Miraculous, not painted by the artist’s hand FraAngelico Lippi (1406-1469), the Tarquinii Madonna, panel, 1437, Rome, National Gallery - Maternal more than spiritual - Focus on bodies and humanism Lippi, Madonna and child with two angels, panel, c1455, Florence, Uffizi (5.10) - Figures fleshy, more realistic century garments - Very fashionable- wearing 15 - Rich landscape seen through a window - Figures turned sideways, not centered - Equality between the Virgin and Christ - Female beauty being employed (idealized) - Plucked hairline back so forehead would resemble a pearl - Mingling earth and spirit - Achieve synthesis of world and flesh - Light and atmosphere more of a focus than iconography - More naturalized chiaroscuro - Less deliberate sense of mass, more natural Lippi, Feast of Herod, 1452-1466, fresco, Prato Cathedral, 5.13 - Masaccio’s sense of storytelling like in Tribute money - King Herod tells Herodias that Salame will dance for him if he presents the head of John the Baptist - Tiled floor establishes orthogonals - Elaborate architectural background - Figures repeated to tell a story in a single spa
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