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- c. 1250-1400
- Pertaining to sculpture and painting done by Italians.
- The term looks to the future rather than Late Gothic
- Style anticipates eventual Renaissance age with Classical influences and the "rebirth of civilization"
- idea of humanism, still a Christian-dominated society, but more humanistic approach to religious story-telling.
- Rome becomes a wasteland when Papacy moves to Avignon, France (Great Western Schism)
The admiration for man's achievements.
- Pulpit for Pisa Baptistry, N. Pisano, c. 1259-1260
- Marbel carved, decoration for inside structure.
- Large, rectangular relief panels represent varuous religious stories such as the Nativity
- Nativity panel with Annunciation and Adoration of the Shepherds from the pilpit, N. Pisano, c. 1259-1260
- Mary is large dominant figure as well as the Christ child. The cleaning of the baby Jesus is an indication of baptism
- Basin looks like a baptismal basin
- The annunciation subject is behind (to three shephards, honors the common man. Pisano looked at sculptures from past of early Christian sculpture and sarcophagus sculptures.
- Virgin and Child Enthroned, Cimabue, c. 1280
- Mary looking out toward viewer while gesturing towards Jesus as the path to salvation.
- Jesus blessing with peace.
- Came from Byzantine icon paintings
- Gold is important color in Byzantine art for background and highlights.
- Virgin and Child in Majesty, Duccio, c. 1308-1311.
- From the Maesta Altarpiece.
- Altar pieces become huge in size.
- Remained on altar piece until 1570's.
- Duccio signed painting on strip on chair right below Mary (lower center).
Panels below the main front panels of an altar piecel.
- Virgin and Child Enthroned, Giotto, c. 1305-1310
- For church in Florence, showing full-bodied figures.
- Giotto was a master of depicting three-dimensionality on a flat surface.
- Mary is holding Jesus moreso than displaying him.
- Giotto relied less on icon formula and moreso on an actual model, as well as painting illusionistic similar to ancient Roman frescos.
- Arena (Scrovegni) Chapel, Giotto, c. 1305-1306
- Giotto commission from private family of the Scrovegni's on March 25, 1305, consecrated
- Giotto revived the art of Fresco painting
- Free-Standing chapel
- Interior surfaces are ideal for fresco painting
- Main subject over altar = annunciation
- The Lamentation, Giotto, Proto-Renaissance, c. 1250-1400
- Mary is coming down for final kiss
- Dead tree in back, different from living tree in "Lazarus" image
- The Raising of Lazarus, Giotto, Proto-Reinaissance, c. 1250-1400
- Anticipates Christ's own resurrection.
- Three-Dimentionality and volume is demonstrated.
Kiss of Judas, Giotto, Proto-Reinaissance, c. 1250-1400
- Annunciation and Saints, Martini and Memmi, Proto-Renaissance, c. 1250-1400
- For altar piece in Cathedral of Sienna
- Gabriel has just arrived.
- White lilies = Mary's purity
- Plaid was Sienna's export
- Byzantine Gold
- Life of St. John the Baptist, Andrea Pisano, Proto-Renaissance, c. 1250-1400
- Commissioned by caretakers who felt that this building (San Giovanni) should be bedazzled
- 14 subjects (28 subjects in all, framed by quatrafoil design motif and 4 leafed design relief sculpture.
- Birth of the Virgin, Pietro Lorenzetti, Proto-Renaissance, c. 1250-1400
- Most sophisticated representation of Space
- Men waiting in far left of a different room.
- Altar piece.
- Enthroned Christ with Saints, Orcagna, Proto-Renaissance, c. 1250 - 1400
- Previous imagery is fully in response to Bubonic plague, making patriarchy the main focus again.
- Severity of Jesus keeping watch on you.