Quiz 1 1) Describe in detail the attendance, cell phone, and laptop policies described on the syllabus 2) The number of artworks illustrated in Gardner’s Art through the Ages 13th edition (only) by women, chapters 14-25. 3) Total number of artworks illustrated in chapters 14 through 25. 4) Linda Nochlin’s thesis (her answer to the question the title asks) 15 minutes

Compare Byzantine (left) style and content with High Renaissance (right) (left) Bonaventura Berlinghieri, Saint Francis Altarpiece, 1235 and (right) Raphael, Baldassare Castiglione, ca 1514, mastered illusionism

Compare (left) High Italian Renaissance Raphael, Baldassare Castiglione, ca 1514, with Vincent Van Gogh, Dutch Modernist, Portrait Dedicated to Paul Gauguin, 1888

Compare Van Gogh (1888) Expressionism with Pablo Picasso (Spanish Modernist) Portrait of Vollard, 1910, “School of Paris” Cubism

http://www. moma. org/audio_file/audio_file/82/411e http://www.moma.org/audio_file/audio_file/82/411e.mp3 Andy Warhol, (US Pop Art), Gold Marilyn, 1962

Carsten Holler, Mirror Carousel, 2005. Installation view

Carsten Holler, Untitled (Slide), 2011. Installation view

Carsten Holler, Test Site, 2006 Carsten Holler, Test Site, 2006. Installation view Turbine Hall at the Tate Modern, London http://www.tate.org.uk/modern/exhibitions/carstenholler/video.shtm

Carsten Holler, Untitled (Slide), 2011, Installation view

From Medieval to Renaissance: Italy, 1200-1400

Map of the World

Italy Around 1400

Roman Forum. Italian Renaissance humanists – artists, writers, architects – were inspired by Greco-Roman literature and art, evident in ruins of classical culture that were part of their landscape.

Byzantine icon, St Nicholas, early 13th C. Greece BONAVENTURA BERLINGHIERI, panel from the Saint Francis Altarpiece, San Francesco, Pescia, Italy, 1235. Tempera on wood, approx. 5’ x 3’ x 6”. A leading painter in the Italo-Byzantine style. Frontal pose and use of gold leaf show his Byzantine sources.

CIMABUE (“Bull’s Head”), Madonna Enthroned with Angels and Prophets, ca. 1280–1290. Tempera on wood, 12’ 7” x 7’ 4”. Galleria degli Uffizi, Florence. One of the first artists to break with the Italo-Byzantine style. A summary of Byzantine style, but the throne recedes into space. Spatial illusionism is a hallmark of Renaissance representation.

Empirical art: “[Giotto’s] true teacher was nature.” GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood, 10’ 8” x 6’ 8”. Galleria degli Uffizi, Florence. Called the "Father of Western Painting” why?

Compare Cimabue and Giotto. Is Giotto’s style more empirical?

Roman maternal goddess, panel from the east facade of the Ara Pacis Augustae, Rome, Italy, 13–9 BCE. Marble, approx. 5’ 3” high. Compare Giotto (1310) for solidity of the body, a body that has weight.

Giotto, Interior of the Arena Chapel (Cappella Scrovegni) 69 ft long, Padua, Italy, 1305–1306/1310. Fresco panels of the life of the Virgin (top) and the life and death of Christ and resurection (center and lower) http://art.docuwat.ch/videos/european-art-history/a-history-of-european-art-06-giotto-and-the-arena-chapelpart-i/?channel_id=0&skip=0

GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305 Fresco, 6’ 6 3/4” x 6’ 3/4” What is fresco (method and medium)? Illusionism of 3 dimensions and expression

Anonymous Byzantine artist, Lamentation over the Dead Christ, wall painting, Saint Pantaleimon, Nerezi, Macedonia, 1164. Compare Byzantine Lamentation (above) with Giotto’s early Renaissance Lamentation on the right, ca 1305

Sculptor ARNOLFO DI CAMBIO and others, Florence Cathedral (Santa Maria del Fiore, view from the south), Florence, Italy, begun 1296. Campanile (free-standing bell tower) by Giotto. Dome by Filippo Brunelleschi was built in the early 15th century.

Compare Florence Cathedral (above) begun 1296 with the Cologne cathedral (left) begun 1248.

Nave of Florence Cathedral (view facing east), Florence, Italy, begun 1296. Nave of Amiens Cathedral (view facing east), Amiens, France, begun 1220.

Palazzo Pubblico, Siena, Italy, 1288–1309

Palazzo Pubblico, Siena, Italy, 1288–1309

Ambrogio Lorenzetti, Peaceful City, detail from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco.

Ambrogio Lorenzetti, Peaceful Country, detail from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco. The first “real” (empirical) landscape painting – a portrait of a place. Siena was decimated by the Black Death in 1348. Approximately half the population died in the plague. The republic's economy was destroyed and the city-state quickly declined from its position of prominence in Italy.

The Triumph of Death, 1325-50, Fresco, 18’6”x49’2”, Camposanto, Pisa

The Camposanto (sacred field), cemetery, Pisa, Italy

Francesco Traini (. ) or Buonamico Buffalmacco ( Francesco Traini (?) or Buonamico Buffalmacco (?), The Three Living, detail from The Triumph of Death, fresco, 1325-50, 18’6” x 49’2” Camposanto, Pisa

Corpses, detail from The Triumph of Death fresco, Camposanto, Pisa

Detail from The Triumph of Death, c. 1325-50, Camposanto, Pisa

Detail from Triumph of Death, c. 1348, Santa Croce, Florence Detail from Triumph of Death, c. 1348, Santa Croce, Florence. The Catholic Church intensified preaching of guilt and penance following the Black Death.