Art of the Late Middle Ages in Italy - Detailed Study Notes

The History of Art: A Global View - Chapter 37

Art of the Late Middle Ages in Italy (1200-1400)

Chapter Outline

  • Seeking the Common Good

  • Piety, Politics, and the Maniera Greca

  • Proximity to the Divine

  • Making It Real: Fresco

Introduction

  • The 13th and 14th century saw the Italian peninsula fragmented into several political territories under varied controls:

    • Papacy

    • Holy Roman Emperor

    • Regional kings

    • Hereditary rulers (dukes)

  • Growing prosperous cities began to function as independent states.

  • Increased populations and economic strength of cities became linked to the rising influence of merchants and bankers engaging in long-distance trade.

  • The increase in wealth led to the emergence of new art patrons beyond the Church and nobility, granting artists more opportunities for prosperity and social prestige.

  • Artistic expression became more naturalistic as communities sought to strengthen their identity.

Map of Italian City-States c. 1400

  • Political divisions and major city-states in Italy

    • Republics like Florence and Venice

    • Kingdom of Naples

    • Duchies like Milan and Mantua

Seeking the Common Good

  • Artwork: Palazzo Pubblico, Siena

    • Construction period: c. 1297–1310, tower added 1325–44.

    • Architectural features:

    • Slightly curved façade to fit the piazza's shape

    • Crenellated roofline giving a fortress appearance, symbolizing political and military strength.

    • Taller campanile than Florence’s town hall, used to announce council meetings.

    • Key Terms:

    • Façade

    • Crenellation

    • Campanile

  • Artwork: Ambrogio Lorenzetti, Allegory of Good Government (1338–39)

    • Located on the north wall of the Sala dei Nove, Palazzo Pubblico, Siena.

    • Significance: One of the first monumental secular paintings in Europe since antiquity.

    • Features personification of the Common Good with supporting symbols promoting city morality.

    • Key Terms:

    • Fresco

    • Iconography

    • Hierarchical scale

  • Artwork: The Effects of Good Government in the City and in the Country

    • East wall of the Sala dei Nove, Palazzo Pubblico, Siena, Italy, from 1338–39.

    • Represents the outcomes of effective governance depicted through realistic portrayals of Siena’s contemporary environment and an optimistic future vision.

    • Key Terms:

    • Fresco

    • Iconography

    • Hierarchical scale

Piety, Politics, and the Maniera Greca

  • Artwork: Bonaventura Berlinghieri, Saint Francis Altarpiece (1235)

    • Positioned behind the altar during the Eucharist ritual.

    • Resembles a Byzantine historiated icon, reflecting the merging of traditions promoting Franciscan ideals.

    • Key Terms:

    • Historiated icon

  • Artwork: Coppo di Marcovaldo, Crucifix from Santa Chiara (c. 1261)

    • Illustrates Christ’s suffering to evoke empathy from viewers, possibly reflecting the artist’s own life experiences.

    • Mounted on a choir screen.

    • Key Terms:

    • Choir screen

  • Artwork: Duccio di Buoninsegna, Maestà

    • Back panel originally for Siena Cathedral, dating from 1308–11.

    • Largest polyptych of its era with numerous figures on both sides.

    • Dismantling in the late 18th century led to loss of some panels.

    • Key Terms:

    • Polyptych

    • Predella

    • Pinnacle

  • Artwork: Triumphal Entry (panel on reverse of Maestà)

    • Datings similar to the main panel (1308–11).

    • Displays a blend of Italo-Byzantine styles and early signs of perspective change.

Proximity to the Divine

  • Artwork: Cimabue, Madonna and Child Enthroned with Angels and Prophets (c. 1280)

    • Dimensions: 12 ft. 9 in. × 7 ft. 4 in. (3.53 m × 2.2 m).

    • The frontal pose and gold details illustrate Byzantine influence, while volume is suggested but spatial clarity is lacking.

  • Artwork: Giotto di Bondone, Madonna and Child Enthroned (c. 1305–10)

    • Dimensions: 10 ft. 8 in. × 6 ft. 8 in. (3.25 m × 2.04 m).

    • Naturalism and psychological engagement mark advancements, showcasing depth through light and shadow.

  • Artwork: Giotto di Bondone, Frescoes from the Arena Chapel (c. 1304–5)

    • Commissioned by Enrico Scrovegni; biblical scenes were created on the chapel's walls, reflecting a complex theological narrative.

  • Key Terms:

    • Oratory

    • Mausoleum

    • Medallion

    • Apse

  • Artwork: Joachim and Anna Meeting at the Golden Gate (c. 1302–5)

    • Captures the moment of anticipation for Mary’s conception, showing emotional depth in Anna’s clothing.

  • Artwork: Simone Martini and Lippo Memmi, The Annunciation (1333)

    • Dimensions: 10 ft. × 8 ft. 9 in. (3 × 2.67 m).

    • Reflects a blend of sophisticated materials and techniques, integrating naturalistic details that signify a departure from Byzantine art forms.

Making It Real: Fresco

  • Definition of Fresco: Two types:

    • Buon fresco (true fresco)

    • Fresco secco (dry fresco)

  • Process of Buon Fresco:

    • Apply plaster to wall; an underdrawing follows as it dries.

    • Thin layer of plaster is spread and then painted upon while damp. Once dry, it becomes permanent.

  • Artwork: Andrea da Firenza, Triumph of the Church (c. 1366–68)

    • Located in a Dominican church, it symbolizes the triumph of the Church over earthly concerns, illustrating social and cultural shifts during plague times.

    • Key Terms:

    • Lunette

    • Renaissance

Conclusion

  • Reflects the emerging artistic directions and influences during the Late Middle Ages in Italy, illustrating both cultural and spiritual changes.

Picture Credits

  • Detailed acknowledgement of various photographs and sources used for the artwork illustrations throughout the chapter.

Copyright Notice

  • Copyright © 2021 Thames & Hudson, referencing the collaborative authors.