A dramatically new style of religious painting emerged in Italy in the 14th century. In Florence, an artist name Giotto di Bondone broke with the Italo-Byzantine style that had dominated religious art for centuries, and he pioneered a new approach to painting that was based on his own observations of the natural world, rather than time-honored conventions. Giotto’s innovations ushered in a new, more Humanist approach to religious subject matter, and laid the foundation for the Renaissance in the 15th century. In order to appreciate Giotto’s innovations, we need to understand what art looked like before he came along. So let’s “time travel” back to the ancient world, where many of the techniques that Giotto discovered were already being used. We will then explore how the rise of Christianity changed everything about how artists represented the visible world, resulting in the abstract linear style that Giotto set out to overturn. Procession of the Royal Family, Ara Pacis, Rome, 13-9 CEDuring the Classical period (meaning ancient Greece and Rome), artists made paintings and sculptures that were naturalistic in style (naturalism in art means images that look like the real world the way we actually see it). The Roman relief illustrated above is a good example of naturalism. It depicts a group of people in a religious procession, and although it was carved on a flat surface, the sculptor created a convincing illusion of a crowd of people casually standing in line. The figures stand in natural poses, and we can sense the bodies beneath their drapery; their faces and gestures are individualized. They seem physical and real, and we can almost imagine ourselves entering the scene and standing amongst them. Seated woman playing a Kithara, fresco from the Villa of P. Fannius Synistor, Boscoreale, 4-30 CE Roman painters also created convincing illusions of life. This fresco from a Roman villa depicts a seated woman holding a musical instrument. The figure is rendered in perspective (the way she would appear from a fixed viewpoint), and the artist used “modeling” (i.e. gradations of light and shade) to create the illusion of volume. Although painted on a flat surface, the image seems remarkably three dimensional and real.Watch this video which demonstrates the use of modeling with light and shade to create the illusion of three dimensional volume. Shape into Form http://www.youtube.com/watch?v=ExRRHY9wT6Q Religious Images in Medieval Art Assigned Resource: Dr. Nancy Ross, “The Image in Medieval Art,” Smarthistory http://smarthistory.khanacademy.org/The-Evolution-of-the-Medieval-Style.html Bonaventura Berlinghiere, Madonna and Child with Saints and Crucifixion,1260-70In an effort to obey the commandment against “graven images,” Medieval artists abandoned many of the techniques used by Classical artists (such as modeling and perspective). Their images were flat, rather than three-dimensional, with thick outlines that make the figures appear cartoonish. As Dr. Nancy Ross explains, this unrealistic approach was designed to distinguish Christian art from the naturalistic styles of Europe’s pre-Christian predecessors: Jacopa di Cione Madonna and Child in Glory 1360/65 The Human and the Divine
Bibles for the Poor The Italo-Byzantine Style Typical features of the Italo-Byzantine style include the use of a flat gold background to symbolize the perfection of heaven, and figures that are flat and cartoon-like. This abstract style reflected religious ideas about the nature of divinity: since Mary, Jesus, and the Saints were considered to be spiritual rather than earthly beings, they were represented as abstract, symbolic figures that float in an unrealistic space. The images were meant to symbolize a heavenly reality, very different from our own physical world. Last Judgment Mosaic, Florentine Baptistry, 1240-1300
The figures in Cimabue’s painting have a cartoon-like quality, because the artist uses lines to define contours and drapery folds, and the figures float in an undefined space that has little suggestions of depth. The image was intended to make us focus on the spiritual nature of the Virgin, rather than on her humanity. She exists in heaven, rather than in our world. But Cimabue was one of the first artists to begin using some of the techniques that will become central to the new style of painting introduced in the Renaissance. Although his image conforms to the traditional conventions of the religious icon, he does begin to model with light and shade to create just the slightest sense of dimension. Cimabue, Maesta of Santa Trinita, 1280-1290, tempera on panel, 151 1/2 x 87 3/4″ (385 x 223 cm), Uffizi, Florence Speakers: Dr. Steven Zucker and Dr. Beth Harris https://www.khanacademy.org/humanities/medieval-world/latin-western-europe/florence-late-gothic/v/cimabue-maesta-of-santa-trinita-1280-900-1290 Why Do All Icons Look Alike? According to legend, Saint Luke painted the first portrait of the Virgin Mary and this sacred original has served as the model for all icons created thereafter: Statue of Diadoumenos , c. 69-96 AD; Roman copy of a Greek bronze statue by Polykleitos The Body in Classical and Medieval Art
But attitudes towards the nude human body changed dramatically in the Middle Ages: Gislebertus, Last Judgment, Autun Cathedral, 1120-1135 Expulsion of Adam and Eve, Hunterian Psalter, c. 1170 When nude figures were represented in Medieval religious art, the emphasis was on shame and sin, rather than triumph or heroism. After the sin in the garden, Adam and Eve became aware of their nakedness and they were ashamed: “Then the eyes of both of them were opened, and they realized they were naked; so they sewed fig leaves together and made coverings for themselves.” No longer “innocent,” their bodies now became an outward expression of their sinful state, or what church doctrine refers to as “original sin.” This negative attitude towards the human body is reflected in medieval images that avoid a naturalistic depiction of the human form. ___________________________________ Web Resources: Dr. Nancy Ross, “A New Pictorial Language: The Image in Early Medieval Art,” Smarthistory Humanism in the Renaissance Sorabella, Jean. “The Nude in Western Art and its Beginnings in Antiquity”. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. Sorabella, Jean. “The Nude in the Middle Ages and the Renaissance”. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/numr/hd_numr.htm ____________________________ This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License. Next lecture |