exam 4 essay

middle

Cathedral of Notre Dame, Paris,begun 1163; choir chapels, 1270s; crossing spire, 19thC.•Notre Dame: Our Lady, the Virgin Mary; many churches were named after the Virgin•First true flying buttresses employed used here in 1180s•Flying buttress: arched skeletal support anchored to exterior buttress•Bridges period between Early and High gothic Stained glass made by fusing layers of colored glass, joining them with lead strips and painting details in enamel

late gothic

Churches designed for Franciscans and Dominicans are simple and functional and contrast with the trend towards richness in ornamental decorationFrance (Flamboyant style)England (Decorated or Perpendicular style) Gothic Revival in 19th century in Europe and America

Cimabue

Cimabue, Madonna Enthroned,ca. 1280-90, tempera on wood, h. 12.5, tempera on wood•Last great Italian painter in the Byzantine tradition•Foreshadows spatial investigations for which his pupil, Giotto, will become renown

Cimabue versus Giotto

Similarities: Cimabue versus Giotto Narrative•Media•Function/purpose•Background Differences: Cimabue versus Giotto Space•Mass•Proportion of figures•Drapery•Features of Christ•Throne•Depiction of angels

romanesque

Thick, massive wallsFew and small openings (doors and windows)Round archesDrum and rectangular piers employed to support arches (can be compound)Groin vaultingTransverse archesRoundPointed Clearly defined forms (additive architecture) delineate interior space Interior, Church of Sant Vicenç, Cardona, Catalunya, 1020s-30s•First Romanesque•Lombard Romanesque•Romanesque architecture based on methods used by late Roman builders•Compound (cluster) piers and transverse arches divide the nave into a series of bays that clarify and define space—becoming an essential element of Romanesque architecture Stone vaulting replaces timber roofs-Fireproofing-Majestic setting-Acoustics•Thick massive walls•Few and small openings in the walls •Round arches•Transverse arches/ribs•Clearly defined forms (additive architecture) delineate interior spaces

Discuss the developmentof church design from Early Medieval (Carolingianand Ottonian)through Romanesque and Gothic. Did churchdesign evolve? If so, how did it evolve? What factors may have contributed to this evolvingof styles? Include a discussion of the important features of each style. As most significant sculptureduring these periods was closely associated with architecture, include it in your analysis.

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Compare and contrast the depictions of the Virginand Child Enthronedby Cimabue, Duccio,and Giotto. How are the works similar? How are they different? What qualities of each place them firmly in the Byzantine, Gothic, or Proto-Renaissance traditions?

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pilgramage church

Designed to allow pilgrims to move around the church without disrupting services at the main altarPilgrimage plan: Ambulatory Radiating chapels—often for placement of relicsTransept portals (east and west) used by pilgrims and locals; western portal ("Royal Portal") reserved for special ceremonies Aisled transepts Abbey church of Sainte-Foy,Conques, France, mid-11thto 12thcentury•Romanesque style is additive architecture: identifiable building units •Contrast of nave and transepts; apse and lower ambulatory•West towers rebuilt in 19thcentury•Side aisles built to height of nave (no clerestory lighting)•Crossing tower transept, Cathedral of St. James, Santiago de Compostela, Spain, view toward the crossing, 1078-1122•Barrel vaulted nave with transverse arches and groin vaulted aisles•Pilgrimage plan•Octagonal windowed lantern at the crossing•Present day church is a combination of Romanesque, Gothic, and Baroque architecture Held the body of Saint James the apostle•The most important pilgrim destination

duccio

Duccio, Virgin and Child Enthroned (Ruccelai Madonna), 1285, h. 180"x 110", tempera and gold on panel•Artist improved upon on the popular Byzantine style by using a more complex spatial arrangement and elimination of hard contours •Originally commissioned for the main altar of a church, it now resides in the Uffizi Duccio, Virgin and Child in Majesty, (Maesta),main panel from Siena Cathedral 1308-11, tempera and gold on wood panel, 7x 136 1/4•Central panel of a much larger altarpiece•Maesta:Majesty•Gesso: ground for a painting made from finely burnished plaster, usually many layers•Broken up into smaller artworks Example of Byzantine iconography and style: Madonna Enthroned with Angels and Prophets 1) Proportion of figures 2) Gold sky indicating sacred scene 3) Overall centralized composition with symmetry 4) "Stacked" positioning of angels 5) Patterned folds lined with gold on Mary's cloak 6) Decorative quality Unlike Cimabue and Giotto who were Florentine, Duccio was a prominent painter from Siena. Sienese painting was similar to the art of the art of Florence even though the two cities had a bitter rivalry. Part of the rivalry was due to the political divide between the Guelphs who supported the Roman pope (Florence) and the Ghibellines who supported the Holy Roman Empire (Siena). Due to the ties with the Holy Roman Empire along with ties to the French papacy in Avignon, the Sienese had more artistic influenced which were derived from the International Gothic style found in Germany and France. This can be seen in the poses and folds of drapery in his figures. But Duccio like Giotto is painting in a way that captures the intelligence and personality of each saint and angel

early gothic

First Gothic church•Romanesque church that is re-designed by Abbot Suger•Contains the four main features of gothic architecture that distinguish this new period from earlier Romanesque period:-Pointed arch-Ribbed vaulting-Buttresses-Stained glass windows

giotto

Giotto, Madonna Enthroned (Ognissanti Madonna),ca. 1310, 108h., tempera on wood•Unlike the Gothic/Byzantine styles, weighty figures inhabit a real space•Tremendous influence on later painters of the Renaissance•Considered by many to be the forefather of modern art Example of artist breaking Byzantine tradition: Madonna Enthroned with Angels and Prophets 1) Gives the faces more naturalization and breaking symmetry slightly 2) Hinting toward spatial depth through the architectural throne and through modeling parts of the figures with light and shade 3) Injecting some individuality into the faces of the men at the bottom transcends time -begining to change in early 1300s's responding to cultural changes emphasis on the here an now renessance