We opened class by comparing two Madonna Enthroned’s: Cimabue’s and Giotto’s. The main difference for me was that Cimabue’s depiction was conceptual, not naturalistic in terms of its setting, while Giotto had more spatial accuracy with the overlapping of figures. <\/p>\n\n\n\n
We then covered the Scrovegni\/Arena Chapel, particularly the frescoes of The Lamentation and Christ’s Entry into Jerusalem by Giotto Bondone. Although I remember another student commenting in class that the plain blue background of Christ’s Entry into Jerusalem was underwhelming, I thought that it helped emphasized Christ’s profile as the center of the piece. <\/p>\n\n\n\n
We then moved from Florence to Siena by covering Duccio di Buoninsegna’s Maesta altarpiece. I found it particularly fascinating that there was a procession to deliver the altarpiece to the cathedral upon its completion, further highlighting the importance of the relationship between church and state in the 1300’s. <\/p>\n\n\n\n
We then covered Ambroggio Lorenzetti’s frescoes for the Sala della Pace, particularly The Good Government fresco which depicted economic exchange, harmonious societal activities (dancing, music), contemporary architecture, and leisurely activities (hunting). I found the inclusion of Securitas (holding a gallows!) to be quite menacing. <\/p>\n\n\n\n
We then moved to 15th century art in Northern Europe with the Limbourg brothers’ Tres Riches Heures du Duc de Berry. I found it interesting that the January page was in a way a showcase of the Duke of Berry’s immense collection of wealth. Although there was a diversity of social status amongst the subjects of the scenes depicted in the book, they are all represented as content, pushing a positive image of the Duke’s government. <\/p>\n\n\n\n
We concluded class with Charles Sluter’s Well of Moses. I found it quite comical that Moses had horns due to what was basically a biblical typo. <\/p>\n","protected":false},"excerpt":{"rendered":"
We opened class by comparing two Madonna Enthroned’s: Cimabue’s and Giotto’s. The main difference for me was that Cimabue’s depiction was conceptual, not naturalistic in terms of its setting, while Giotto had more spatial accuracy with the overlapping of figures. We then covered the Scrovegni\/Arena Chapel, particularly the frescoes of The Lamentation and Christ’s Entry […]<\/p>\n","protected":false},"author":19057,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/1853"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/users\/19057"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/comments?post=1853"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/1853\/revisions"}],"predecessor-version":[{"id":1854,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/1853\/revisions\/1854"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/media?parent=1853"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/categories?post=1853"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/tags?post=1853"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}