International Gothic + Proto Renaissance

Exam on 18th June

Rucellai Madonna

• Artist: Duccio di Buoninsegna

• Date: c.1285

• Culture: Sienese

• Period: International Gothic

• Facts:

  1. Reflects Gothic style; floating + front facing characters, golden background

  2. One of the largest panel paintings of the 13th century in Italy.

  3. Emphasizes elegant line and gold detailing typical of Sienese style.

Byzantine characteristics

Frontal Position/facing

Gold Background

“Floating” figures

The Annunciation

• Artist: Simone Martini

• Date: c.1333

• Culture: Sienese

• Period: International Gothic

• Facts:

  1. Use of tondi

  2. Triptych, Madonna holds a book symbolizing her wisdom and piety; her motherly nature

  3. Lillies symbolizing purity

Madonna and Child Enthroned (Cimabue)

• Artist: Giovanni Cimabue

• Date: c.1285

• Culture: Florentine

• Period: International Gothic

• Facts:

  1. Represents a transitional work blending Byzantine influence with an atempt at perspectives

  2. Christ is portrayed as a small adult to indicate divine wisdom. Tondi on the sides

  3. Figures of prophets at the bottom represent Old Testament foretelling.

Madonna and Child Enthroned (Giotto)

• Artist: Giotto di Bondone

• Date: c.1310

• Culture: Florentine

• Period: International Gothic

• Facts:

  1. Breaks from Byzantine flatness through volumetric modeling and depth. No longer floating figures also

  2. Angels hold lillies and red roses, lillies symbolizing purity, roses foretelling Christ’s sacrifice for humanity

  3. Giotto’s work directly influenced the move toward Renaissance naturalism.

Arena Chapel (Architecture)

• Artist: Giotto di Bondone

• Date: c.1305

• Culture: Florentine

• Period: International Gothic

• Facts:

  1. Commissioned by Enrico Scrovegni to repent his sins for charging interests on loans (banker)

  2. A simple barrel-vaulted chapel designed to house Giotto’s frescoes. Artworks comes in registers, one side is telling the story of Mary, one is telling the story of Christ

  3. Painted tondi on the ceiling, Scrovegni is kneeling at the inside of the chapel, symbolizing his repentance (trying to earn a spot in heaven)

The Meeting of Joachim and Anna at the Golden Gate

• Artist: Giotto di Bondone

• Date: c.1305

• Culture: Florentine

• Period: International Gothic

• Facts:

  1. Part of the Arena Chapel fresco cycle depicting the life of Mary.

  2. The women dressed in black represents Judaism
     representing the “Old Law” (the Hebrew Bible or Torah) superseded by the “New Law” (Christian salvation through Christ).

  3. Demonstrates early use of architectural framing and spatial depth. (Roman

Madonna and Child before a Fire Screen

• Artist: Robert Campin

• Date: c.1420

• Culture: Flemish

• Period: Early Renaissance

• Facts:

  1. Use of a findspot

  2. The fire screen behind the Virgin symbolizes divine protection. ALso acts as a halo

  3. Book symbolizes piety and wisdom (madonna is the patron saint of learning and knowledge)

2. Ghent Altarpiece (Closed and Open)

• Artists: Jan and Hubert van Eyck

• Date: c.1432

• Culture: Flemish

• Period: Early Renaissance

• Facts:

  1. Polyptych with detailed scenes of salvation and adoration of the Lamb.

  2. Use of grisaille (monotoned color)

  3. Annunciation; Mary replies upside down to God, facing up, so only God can read her reply

Grisaille

a monochrome painting done mainly in neutral greys to

simulate sculpture.

Giovanni Arnolfini and His Bride

• Artist: Jan van Eyck

• Date: c.1434

• Culture: Flemish

• Period: Early Renaissance

• Facts:

  1. High forehead of the bride, reflects 15th century beauty standard, 1 candle lit symbolizing that God is present

  2. The dog symbolizes faith and fidelity

  3. Pale ashen skin, symbolizing nobility and wealth (didn’t have to do manual labour)

Man in a Red Turban

• Artist: Jan van Eyck

• Date: c.1433

• Culture: Flemish

• Period: Early Renaissance

• Facts:

  1. Self portrait of Jan Van Eyck, drawn using a mirror, referencing his own reflections

  2. Shows intense master, very detailed + realistc depiction, use of chiaroscuro

  3. Frame bears the inscription “As I can,” suggesting pride in artistry. Used as a portfolio piece to show his mastery to get commissions

The Escorial Deposition

• Artist: Rogier van der Weyden

• Date: c.1435

• Culture: Flemish

• Period: Early Renaissance

• Facts:

  1. Lack of blood; Italians didn’t like gore

  2. Mary is especially pale, fainting, and her purity

  3. Very compressed, gives a sense of dramaticness, located at Golgotha

Golgotha

“Place of the skull” in aramic