$EARLY RENAISSANCE The Early Renaissance, c.1280 - 1350, is characterized by painters in Florence and Siena who broke out of the Byzantine traditional style, in creating natural, realistic figures and settings in their paintings. The paintings of Giotto and Duccio are a quiet revolution in the way the Christian story is made familiar to the public. The narratives of the Christian story are made human in a down-to-earth fashion, one in which we take for granted in the 20th Century. The public was fascinated with the achievements of the Early Renaissance painters, their experiments with fresco and the handling of figures were essential to the full flowering of the Renaissance in the 15th Century. #GIOTTO 1266-1337 Giotto was an Early Renaissance Florentine artist of the late 13th and early 14th Centuries. Yet, he is also credited with being the first Renaissance painter, 100 years before Quattrocento Humanism. His works revolutionized European art, because he made the figures in his works so human, and focussed on human relationships. Others before, such as his teacher, Cimabue, established narrative art, that is, telling stories of the events of Christian beliefs, but none had experimented as much as Giotto in trying to make the stories natural and realistic. Before Giotto, artists were still part of the Byzantine tradition of highly stylized figures in unrealistic settings. Giotto put the humanizing influence of St Francis' religious beliefs into artistic practice. Giotto's most famous works are in the Arena Chapel, Padua, painted from 1305. A rich merchant, Scrovegni, purchased an ancient Roman arena for a chapel dedicated to the Virgin Mary. Giotto was given the task of completely decorating the inside with paintings. The main point is that Giotto was given a free hand to design the whole project, with no architectural moldings or pillars to contend with: just bare, plastered walls from top to bottom, and end to end. In 38 scenes Giotto depicts the Life of Christ and the Life of the Virgin in six sections, composed in 3 tiers: · The Life of the Joachim, Anna and the Virgin · The Life of Christ on the middle layer; · The Passion sequences on the lower layer; · as well as an altar wall featuring the Annunciation, and the end wall featuring the Last Judgement. Giotto's style evolves from the top paintings of the Life of Joachim to the Passion paintings, growing in stability and confidence and in the strength of emotional relationships and use of colour. *201 Giotto CEREMONY OF RODS 1305 Fresco, Arena Chapel This is the beginning of the Virgin story. Mary is to be married. Prospective husbands present rods to the priests for selection. Joseph is the humble older man who stands back. *202 Giotto EXPULSION OF JOACHIM 1305 Fresco, Arena Chapel Joachim and Anna are married but have no child, so Joachim offers a lamb to the priest, but his offering is rejected. In this early painting Giotto uses strong verticals in the setting which are disguised by the figures. He uses oblique perspective to create a sharp sense of space. Note the rounded voluminous figures, the stretched drapery and colour which is used to create volume. This is another of Giotto's dramatic confrontations. The half-scale buildings in relation to human figures are traditionally used in art at the time. *204 Giotto SIGN TO JOACHIM 1305 Fresco, Arena Chapel An Angel appears to Joachim in a dream, announcing the coming birth of a daughter, and for him to meet Anna outside the Golden Gate to Jerusalem. Note the humble, gentle Joachim and the angels typically portrayed by Giotto: animated, and energetic. *206 Giotto AT THE GOLDEN GATE 1305 Fresco, Arena Chapel Joachim and Anna are reunited at the gate, a joyful married couple again. A touching scene involving friends and relations. The arch frames the happiness of the human event. *207 Giotto BIRTH OF JESUS 1305 Fresco, Arena Chapel Jesus is born with Medieval midwives, shepherds, and angels celebrating all in one scene. Giotto places the birth within a shed not a traditional cave, creating a sense of space. The shepherds stance and set of shoulders indicates wonder at the angelic host. *208 Giotto FLIGHT TO EGYPT 1305 Fresco, Arena Chapel Mary and Joseph are warned about the possible death of all infants in Bethlehem by the jealous Herod the Great. They escape to Egypt. Giotto paints dark hair for Christ to show his growth as a child. The triangular construction of the central group of Mary and donkey is framed by the landscape. Giotto has achieved mature control of human groups by this stage in the Arena Chapel project. *209 Giotto MASSACRE OF INNOCENTS 1305 Fresco, Arena Chapel Herod's men kill all the infants to prevent a prophesized king to challenge Herod's throne. A dramatic scene full of emotion, women, death, massacred bodies, and action. This is a more ambitious depiction of buildings in a street scene, the architecture now being used to create wider, fuller space *210 Giotto PRESENTATION OF JESUS 1305 Fresco, Arena Chapel. Jesus is presented to the Priests at the Temple, the formal acceptance by circumcision of a boy into the faith. Simeon is seen on the right with the scroll prophesizing the event. *211 Giotto CANA 1305 Fresco, Arena Chapel At the marriage feast Jesus turns the water into wine. Joseph and Mary are present. The clothing is in 13th Century style, reflecting the life of contemporary people of Florence. Architecture is used with great control to create Giotto's first full interior view of space. Unifying lines run around the back uniting with the tables to create depth, as with the ceiling moldings. *212 Giotto RAISING OF LAZARUS 1305 Fresco, Arena Chapel Jesus is asked to do something about a dead friend of the family. He calls Lazarus forth from the tomb, still wrapped in burial clothes. Surrounding viewers cover their mouths from the stench. Note the simple clear composition, the blocks of diagonals create the groups at the scene, the backs of figures are used to create depth. At this stage in the Arena Chapel work Giotto is now using strong, vivid colours. *213 Giotto ENTRY TO JERUSALEM 1305 Fresco, Arena Chapel. Jesus entered Jerusalem before Holy Week to the Hosannas of the crowds, a man climbing a tree to see him. An excellent comparison of the Florentine and Sienese styles can be made by comparing this work with Duccio's version of the same event. Both artists were at the height of their development. *214 Giotto BETRAYAL 1305 Fresco, Arena Chapel Jesus is betrayed by Judas in the Garden of Gethsemene. Caiaphas and Annas lead the soldiers to arrest Jesus. Peter cuts off an ear while the Apostles act to stop arrest. One of the most famous of Giotto's works full of action and drama, with eye-to-eye confrontation. Note the clear grouping of figures. Judas is depicted as half-animal. Drapery and colour suggest form, weight, and volume. *215 Giotto LAMENTATION 1305 Fresco, Arena Chapel The body of Jesus is taken from cross. Mary holds his body while the Apostles look on. The agonizing angels with distorted faces and body positions echo the human drama below. Mary and her son, face to face, reinforce the drama of the moment. Rocks and drapery sweep down in unity with the emotions of the scene. *216 Giotto RESURRECTION 1305 Fresco, Arena Chapel Jesus rises from dead. Mary Magdalene sees him and tries to touch Jesus. He tells her not to. The angels and sleeping guards are seen at the tomb. White colour is used very little in previous works but here with effect for the flag and Jesus' garments contrasting with the dark background. *217 Giotto DEATH OF FRANCIS 1320 Fresco, Bardi Chapel. Giotto painted a series of narratives on the Life of St Francis in the Bardi Chapel. This popular saint is shown here at his death. The friars bend over Francis in gentle sorrow. Unfortunately, this work is almost destroyed. Cupboards once covering this painting, are now removed but show the scars on the picture. Giotto's style here has matured. He creates a gentler, calmer mood. The forms of his figures are created by firm brushstrokes. #DUCCIO 1255-1318 Duccio was a Early Renaissance contemporary of Giotto but worked in Siena, a rival Tuscan city to Florence. Sienese art developed differently from Florentine art, keeping closer to Byzantine traditional art. However, Duccio's main work, continues the growing trend towards narrative art, because of the increasing sense of self-worth among the people of Europe. His main work is the Maesta, a great altarpiece for the Sienese cathedral, on which Duccio creates a series of narratives on the Life of the Virgin, and the Passion cycle. Major early Sienese artists to follow Duccio were Simone Martini, and the Lorenzetti brothers, Pietro and Ambrogio. Sienese Art reveals more concern for line and colour, and it is more delicate, graceful, restrained, and less dramatic than Florentine art. There is a poetic mood, expressive where colour is used for emotional effect rather than in creating volume. The Sienese depict their landscapes with more detail and which creates a greater sense of visual realism. The narrative has equal weight with the overall image. The Sienese tend to paint with tempera on panels rather than fresco on walls, thus creating more colourful and more elaborate pictures than in Florence. *218 Duccio THE MAESTA 1308 Panel, Museo dell'Opera del Duomo, Siena. The Maesta is the great altarpiece of the cathedral dedicated to the Virgin Mary, the Patron Saint of Siena. The city council commissioned this large work for Duccio. On the side facing the public, is a large painting of Mary enthroned, with angels, saints and prophets in attendance. Below are scenes of the Life of Mary. On the side facing the priests are small panels depicting the Life of Christ. *219 Duccio CRUCIFIXION 1308 Maesta, Museo dell'Opera del Duomo, Siena Note the vibrant colours and clearly defined people with the crowds grouped on two sides, typical of Duccio. Christ is depicted in Gothic style, that is, with a distorted body to evoke emotions rather than the more sombre Giotto or the triumphant Byzantine versions. *220 Duccio ENTRY TO JERUSALEM 1308 Maesta, Museo dell'Opera del Duomo, Siena Jesus enters Jerusalem to Hosannas and palms. Duccio creates a full landscape filled with buildings and people full of action and the vitality of life. This landscape is the start of a great tradition in Sienese art, which culminates in Ambrogio Lorenzetti's Good Government painting. *221 Duccio ANNUNCIATION 1308 Maesta, Museo dell'Opera del Duomo, Siena The Angel Gabriel announces to Mary that she will bear a Blessed Child. Note the brighter colour than Giotto's works, and the architectural framing is stronger. Duccio uses foreshortened frontal perspective as with all Sienese art at that time. The gentle gestures, and body positions of people create the gentle sweeping lines, characteristic of Sienese art. *222 Duccio ST JOHN AND VIRGIN 1308 Maesta, Museo dell'Opera del Duomo, Siena This work is one of Duccio's earlier works on the Life of the Virgin series on the Maesta. The plain but gentle gestures and bending of John's body suggest the gentle emotions typical in Duccio's work. *223 Duccio DORMITION OF THE VIRGIN 1308 Maesta, Museo dell'Opera del Duomo, Siena This work is part of Duccio's earlier works of the Life of the Virgin series of panels on the Maesta. Note the change in maturity of style from this work to the Entry to Jerusalem scene. #LORENZETTI, PIETRO 1280-1348 Pietro Lorenzetti, brother of Ambrogio, was another Early Renaissance Sienese painter imbued with the new narrative and naturalistic style of Duccio and Giotto. Pietro develops a gentle emotional depth in human relationships. *224 Lorenzetti, Pietro DEPOSITION 1330 Fresco, Lower Church of San Francis, Assisi. Assisi was the centre of devotion to the popular St Francis. Early Renaissance artists painted narratives of Francis' life, such as Giotto, Cimabue, as well as Pietro Lorenzetti. Note the expressive sweetness and drama of the lines of the body of Christ. This strength of line and the emotional relationships depicted in Mary and her dead son are typical of Pietro's art. #LORENZETTI, AMBROGIO c.1290-1340 Ambrogio, the brother of Pietro Lorenzetti, is another Early Renaissance Sienese painter imbued with the new naturalistic style from Duccio and Giotto. However, his approach is remarkably analytical, quite the opposite from his brother. He made important advances in creating realistic landscapes and in handling the depiction of space. *225 Lorenzetti, Ambrogio GOOD GOVERNMENT 1338 Fresco, Palazzo Publico, Florence. This work is part of a panoramic scene of the Allegory of Good and Bad Governments commissioned for the local City Council Chambers. Ambrogio creates a series of intricate picture planes of buildings and walls ranging into the background and to the sides, stretching right around the chamber. This outstanding work is the first serious attempt to create a sense of space in a rational manner. Ambrogio creates a series of multiple viewpoints, considering the viewer from each part of the chamber. He even creates miniature figures which work in the far distant countryside. The set of paintings is unique in Western Art: such a project had never been attempted before to this extent. *226 Lorenzetti, Ambrogio PRESENTATION 1342 Panel, Uffizi, Florence. Jesus is presented to the Temple priests, a temple intended to depict real space, complete with tiling, rafters, arches, etc., on perspective lines. The picture planes diminish into the interior. Multiple viewpoints establish a strong central vertical axis. This attempt is achieved well before the Albertian Rules of the famous Quattrocento discovery of one-point scientific perspective. #MARTINI 1284-1344 Simone Martini was an Early Renaissance Sienese painter, following on from Duccio. His narrative works became so popular that he spent his later career in Avignon working for the Papacy. Martini influenced French artistic developments linking the Italian tradition with the very strong and steadily-growing influence of the International Gothic style. *227 Martini ANNUNCIATION 1333 Tempera, Uffizi, Florence. The Gothic influence is clear in this work: elegant, courtly, and elaborate. Colour is used with great effect while line is strongly expressive creating a poetic mood. Typical of the new Gothic style is the elaborate tooling of surfaces. Note the suspense-filled lines full of gentle but dramatic emotion from the angel to the Virgin. *228 Martini WAY TO CALVARY 1340 Panel, Louvre, Paris. This late work was completed during the Avignon Papacy in France where Martini resided. Gone is the Gothic courtly elegance replaced by the drama of the story. Martini had a great influence on the development of art in the North leading to the Flemish School a century later.