Today we learned about the Early Renaissance period (15th century) in Italy. We began by discussing the movement towards studia humanitatis, or study of human works, such as rhetoric, literature, history, moral philosophy, and art. Much of this study brought emphasis back to the knowledge acquired by the Greco-Romans. Florence was a key player in the Renaissance period, feeling especially connected to Ancient Rome as they adopted the republic system of government. The government was controlled by bankers and merchants, not the aristocracy. Guilds played a very significant role in the development of a prominent art and architectural scene in Florence. Guilds were bodies that were responsible for legislation and training within a specific field or trade, with the goal of achieving the title of “master”. Guilds were often the patrons of artists/artisans, as they commissioned great works of art/ architecture. One example of a guild commissioning a work of art which we discussed in class was the doors for the Baptistry of Saint John, which was overseen by the guild of wool merchants. They hosted a competition between artists to see who would complete the bronze doors. The final two artists were Ghiberti and Brunelleschi, who each designed a panel depicting the sacrifice of Isaac. Ghiberti was selected to complete the project for the baptistery, which redirected Brunelleschi to the field of architecture. He studied architecture in Rome, returning to Florence to complete the Dome of Santa Maria del Fiore.
Author: Charlotte Epker (Page 3 of 3)
Yesterday in class we continued the lecture on 15th century art in Northern Europe. We began by returning to a discussion of the Well of Moses and then transitioned into considering some of the painted works from the time. In these paintings we can see a shift with the emergence of the artist’s desire to represent reality in a convincing manner. This is paired with what we call “disguised symbolism” as a system of conveying meaning within a painting. Artists would hide symbols within a painting, but these objects still had a sense of belonging within the work, or are objects that could naturally be found within the scene. In order to better understand how artists were using “disguised symbolism” we spent lots of time considering a single painting and breaking down the elements individually. One painting that we took our time considering was Jan van Eyck’s “The Arnolfini Portrait”. I really enjoyed the time we dedicated to processing each individual element within the painting, from the location to the relationship dynamic to elements found within the scene such as the mirror and fruit by the window. It is the small elements that require careful attention which give us a more whole understanding of this painting and the purpose which it may have been serving.
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.
The deep connection between the production of art and the social, political, and economic circumstances of a place at a given time is something that has really been at the center of the courses which I have taken in the art history department. This was emphasized again at the beginning of our class on 2/7, with an explanation of the climate in Italy in the 13th and 14th centuries. Italy (though not officially Italy) was divided into a mosaic of separate states with no unifying government or leader. In terms of the economy, we discussed the ways in which the economy was beginning to pick up following the middle ages. Understanding the context surrounding a work of art or an artist allows us to consider works of art for more than just what we are seeing. Courses in art history have really led me to further question what I see and how it may be a reflection of the circumstances it was made under. So far, based on our class lecture and the first set of readings, religion seems to be a key factor influencing the art and architecture which was being created in Italy.