14th Century Florence and Siena
Intonaco
Final layer added to Fresco
Guilds
Labor unions or professional organizations (stone masons, artists, doctors)
Usury
Lending money at very high interest rates. Father of Scrovengni was accused of this.
Tempera
Paint made with egg binder and pigments
Bonaventura Berlinghieri
Painted and alter piece of St. Francis on tempera wood in 1235
Altarpiece
Painting typically on tempera wood that would depict religious figures and scenes
Punchwork
Personalized punches that an artist would add to painting that was unique to every painter
Gesso
Primer added before drawing on tempera
Gold Leaf
Pure form of gold that was applies to paintings
Repoussoir Figures
Stands with back to painting to draw audience in makes painting more 3D
Shading
Use of dark colors to give a three dimensional effect on painting
Modeling
Using dark and light colors to make a more realistic painting
St. Francis of Assisi
Wealthy man who renounced possessions, rebuilt corrupt church. Always wears either black or brown robe.
Italo-Byzantine Style
a linear flatness, a shallow space, and an emphasis on the spiritual.
Arriccio
layer applied before inonaco
Gilding
process of applying gold leaf to a piece of art
Buon Fresco
"True Fresco" wall painting were pigments were ground into water and applied to wet plaster
Maesta
"Virgin Mary of Magestry"
Mendicicant
"begger" followers of St. Francis wore belts to symbolize the vow to poverty, chastity and obedience to the Pope
Sinopia
Drawn with red chalk and transfered onto plaster by poking holes
Stigmatization
5 wounds of Jesus crucifixion
Red Bole
Applied before gold leaf
'Madona Enthroned with Angels and Prophets'
Created by Cimabue around 1280-1290 on tempera wood
'Madona Enthroned'
Created by Giotto di Bondone in 1310
'Enrico Scrovengni Presenting Chapel to the Virgin Mary'
Created by Giotto in the Arena Chapel in 1305-6
'Lamentation'
Created by Giotto in the Arena Chapel in 1305-6
Fresco Secco
Drawing on dry plaster
