Today we spent the first half of class discussing various representations of the Virgin Mary as a “Madonna Enthroned” and the regional/ideological differences in the production of biblical scenes in Italy, and the second half discussing the arts in Northern Europe.
It was cool to learn that Italian artists valued linear progress from generation to generation, and actively worked to improve upon the perceived shortcomings in their predecessors’ works (Cimabue and Giotto’s “Madonna Enthroned”). It was also interesting to see how regional rivalries impacted the creation of altarpieces. I don’t think this was mentioned, but Duccio’s “Madonna Enthroned” was far more grandiose and detailed than Giotto’s. I wonder if Duccio was aware of Giotto’s altarpiece and intentionally tried to one-up him given that Giotto was based in Florence, and he was in Siena. There could be a bit of campanilismo shining through, but that would be a question for Professor Plesch.
The second part of class was interesting. We started discussing 15th-century art in Burgundy but didn’t get very far. I don’t really know a lot about Gothic art. I assume it started in Germany, but the Well of Moses surely exemplifies the crazy details and intricate designs that I associate with Gothic-ness. I guess I’m still wondering though, what makes something Gothic? The book said that there was sort of an International Gothic style, but I’m not sure I really understand what qualifies a work as Gothic. Anyway, we also looked at the Duke of Berry’s prayer book (is this an illuminated text?) which had a lot of pretty landscape drawings that I found pretty. I think it exemplifies the Northern artistic ideal of “hidden symbolism,” as a lot of subliminal assertions about the Duke’s wealth shine through the simple landscapes. Overall very cool!