My first big write-up was due for my online "art history 1400-present" class tonight. I had to read 25 pages and then write a 2 page "response" to the question: "What important factors led to the development of the emerging renaissance style?" Unfortunately I saved everything until the end, only to find out I have the wrong text book!!! Actually, it has the same information, but the page numbers go from 550-1445, and my assignment said to read pgs 426-452. It is a subject I'll admit I know absolutely nothing about, but this was certainly interesting...here goes for anyone who's interested. The years in parentheses are the year(s) the painting was made.
Economic prosperity in the latter part of the fourteenth century led to prosperity amongst the merchants and artisans of the middle class. As wealth grew, so also did support for arts, learning, and greater creativity. Society members supporting humanism, or the “power and potential of human beings,” saw the period after the fall of the Roman Empire as a “dark age” and wanted their own time to be one of a reawakening of scholarly pursuits, education for the non-clergy, good will toward others, and cultural appreciation. [2]The Byzantine or Medieval era was a time that is represented by Gothic art. This name was not given favorably, as it was a criticism of the quality of the artwork of that period. The Gothic art, prior to the Renaissance lacked a sense of light or shadowing. Artists did not draw the individuals within their paintings in correct proportions, as to help the illiterate to be able to discern and understand the meaning behind the work of art. For example, in a religious painting, the divinity of a person featured was to be ascertained by the size of their head and body in proportion to others in the painting. The larger the person, the more divine. Gold gilding was also added to the clothing of one who was divine, to signify their holiness.
In The Maesta, by Duccio di Buoninsegna, (c. 1308-11), again we see a great deal of gold used in the painting. Mary is again made much larger than the others pictured and her halo is the largest of all the halos in the painting, signifying her divinity. This huge altarpiece was created over a three year period by Duccio. There is less of the gold gilding seen on Mary in this work, than in the Cimabue work. Vibrant colors are being used in this work and there is some variation in facial expressions with more thoughtfulness shown on some angels’ faces closest to Jesus.In the Virgin and Child Enthroned, by Cenni di Pepi, (c. 1280), the artist being nicknamed “Cimabue,” the divinity of Mary is made clear by the greatness of Mary’s size in the center. Much gold is used as was the Byzantine style of art. There are halos around the head of Mary, Jesus, and the surrounding angels to also signify divinity, but there is also a hierarchy shown with Mary as the most holy. The gold gilding is present in Mary and Jesus’ robes. Cimabue has little variation in the facial expressions between Mary and the angels, nor between the Old Testament prophets across the bottom of the artwork. This will change in the years to come. There is no use of light and shadowing to give perspective, that we will see as the Renaissance style develops.
In conclusion, the coming of the Renaissance brought an end to the gothic art of the Medieval era and brought a much needed “rebirth” to those who were looking to find joy and happiness in their faith and in their world around them. Their sufferings were something of the past and now the artists were expressing this brightness of hope and humanity in their works of art. [1] Chaffey Library Database, Internet source, http://library.thinkquest.org/15962/data/renaissance.html. [2] Stokstad, Marilyn, Art History, 3rd ed, Pearson Education, Inc..2008, Vol. 2, p. 586. [3] Chaffey Library Database, Internet source, http://warhol80.files.wordpress.com/2008/05/hoaannunciationsimone-martini.ppt.The Annunciation, by Simone Martini, (c. 1333) displays many of the new techniques that took hold in the early Renaissance, namely the addition of light, perspective, shadowing, and a focus on nature and beauties within the world. Now, in 1333 the year this painting was made, we see the effects of light and the movement of the speech as the words travel from the angel’s lips toward Mary’s ear. There is still much gold work, but light is now present. Mary is no longer made larger. There are aspects of nature present such as the olive branch, signifying peace, and the lilies which are symbols of virginity.[3] There is emotion and a human touch added to Mary’s face now that was not seen in the Cimabue or Duccio works.
