During our class on 2/12 we wrapped up the lecture on 13th and 14th century art in Italy, and transitioned into the art of 15th century Northern Europe. In our discussion of Italian art, we considered the differences between Cimabue’s Enthroned Madonna and Child (c. 1280-90) and Giotto’s Madonna Enthroned (c. 1310). I found the way that these two works function both in comparison to and in conversation with each other very interesting. Giotto’s work appears to be a clear progression from the initial composition of the Madonna created by Cimabue. I found the architectural structure of the throne to be particularly noteworthy in both pieces. Once Professor Plesch pointed out the slightly confusing curve of the Madonna’s throne in Cimabue’s piece, I was unable to unsee the peculiar perspective which the piece took on. It did become a bit uncomfortable to look at once I saw how the arch of the throne was not quite realistic. I found Giotto’s piece to be much more visually satisfying, with crisper lines both vertically and horizontally making up the throne. As much as we discussed the church-like structure of Cimabue’s throne, I almost see more of a church figure in Giotto’s throne, especially with the inclusion of a pointed Gothic arch above the Madonna’s head, acting as a cover to the throne.
In transitioning to the art of Northern Europe, we can see how under the feudal system it was essential for wealthy patrons to use art to increase their own respectability and craft an image of themselves as successful. We see this in the case of the Duke of Berry and the large manuscript of the zodiac calendar and depictions of different months.