1. Proto-Renaissance and International Gothic
13th and 15th Centuries Europe
Instructor: Erica Ness
11th and 13th century in Italy continued to be influenced by the Byzantine especially through the trade routes and Port cities.
This period is often seen as Italian Gothic rather than the proto-Renaissance, but it is the period does have a recognition of Greek and Roman through texts and artworks, and as a result can be considered the predecessor to the Renaissance.
Patronage will change during this period to include more than just royalty and the church.
Artists will be trained more under the master/apprentice relationship. If a boy was identified as talented they would be placed in the service of a Master, they started with tasks like mixing paint and then worked up to doing more important parts like painting.
They would ultimately assimilate the masters style, become the master and take on their own apprentices..
The creation of contracts between patrons and artists will provide us with important information about the artists and creation process of the works.

2. Madonna Enthroned Artist: Cimabue Date:1280-1290 C.E.
Medium: Tempera on wood.
Size: 12’7” by 7’4”
Location: Galleria degli Uffizi, Florence
Cimabue is seen as the last Great Byzantine Painter
Gold Backgrounds with heavy outlining
Long thin proportions of the figures
They appear to have a floating quality
Child appears again as a young man.
The four prophets who foretold the coming of Christ are located at the bottom as the foundations of new.

3. Madonna Enthroned (Ognissanti Madonna)
Artist: Giotto
Date:1310 C.E.
Medium: Tempera on Wood
Size: 10’8” by 6’8”
Location: Galleria degli Uffizi, Florence.
Humanism counteracts the ignorance of the middle ages.
The mentality spread throughout Europe, increasing the desire to collect ancient texts and studying antiquity.
There was an influence of Human nature and human form, again an Ideal begins to be persued.
Literacy in general grew among the people
Artists begin signing their work in the Greek style.
Giotto stands as the ‘creator’ of a new style of paining.
He is seen s bringing art out of the “middle ages”

4. Compare and Constrast
There are differences in space and form
Both have the same media
Both have elaborate throne for Mary
But Cimabue’s throne is less rational use of space
The body is turned less naturally
There is an increase in outlining
The forms seem to float
Giotto’s is more grounded
The body turns more naturally
There is a use of darks and lights to define objects
There figures seem more grounded and Christ has more of a child’s figure.

5. Interior View, Arena Chapel, Padua
Date:1305 C.E.
Medium: Fresco
Location: Padua, Italy
Built by Enrico Scrovegni (Padua’s Wealthiest Citizen)
Called the Arena Chapel, because of the arena Ruins next to it.
Progressive Story in Fresco (Rough plaster, plan space, painted on smooth plaster and add details.
On the left we see the virtues and on the left the vices
There were limited architectural features – unlike Gothic Style.
Entrance/Exit wall has the last judgment scene.

6. Annunciation, Arena Chapel
Artist: Giotto
Date:1305 C.E.
Medium: Fresco
Location: Padua, Italy
Theatrical sense to this scene on this side we Gabriel in a theatrical pose
He is broken in space from Mary
The drapery of the clothing indicates the pose he stands in, but almost has a statuesque type structure
The figures exist within a three dimensional space.

7. Annunciation, Arena Chapel
Artist: Giotto
Date:1305 C.E.
Medium: Fresco
Location: Padua, Italy
The hanging cloth appears like a curtain
Mary holds a book, a common image, and makes it appear as though Gabriel has interrupted her reading.
The light source appears from nowhere and indicates the light of God and Jesus
Mary’s crossed arms are indicative of Jesus’ eventual death on the cross.

8. Crucifixion, Arena Chapel
Artist: Giotto
Date:1305 C.E.
Medium: Fresco
Location: Padua, Italy
Crucifixtion outside on a small sliver of land
The angels catch Christ’s blood
The arms are stretched from the weight of his body and his head and body seem to hang heavy in space.
He is clothed in a sheer cloth which reveals his form
Mary Magdaline is at his feet, Mary

9. Last Judgment, Arena Chapel
Artist: Giotto
Date:1305 C.E.
Medium: Fresco
Location: Padua, Italy

10. Justice, Arena Chapel Artist: Giotto Date:1305 C.E. Medium: Fresco
Location: Padua, Italy

11. Injustice, Arena Chapel
Artist: Giotto
Date:1305 C.E.
Medium: Fresco
Location: Padua, Italy

12. Stigmatization of St. Francis, Exterior of the Bardi Chapel
Artist: Giotto
Date:1317 C.E.
Medium: Fresco
Location: Santa Croce, Florence, Italy

13. Rucellai Madonna Artist: Duccio Date:1285 C.E. Medium: Tempera on Wood
Size: 14’9” by 9”6” .
Location: Galleria degli Uffizi, Florence, Italy

14. Maesta, Sienna Cathedral
Artist: Duccio
Date: C.E.
Medium: Tempera and Gold on Panel
Size: 7’ by 13’6”.
Location: Museo dell’Opera del Duomo, Siena, Italy

17. Kiss of Judas, from the Maesta
Artist: Duccio
Date: C.E.
Medium: Tempera on Panel
Location: Museo dell’Opera del Duomo, Siena, Italy

18. Kiss of Judas, Arena Chapel
Artist: Giotto
Date:1305 C.E.
Medium: Fresco
Location: Padua, Italy

19. Ten minute Response: This work was done in Late Gothic Italy in either Florentine or the Siena Tradition. In which would you place this painting and why?

20. Score
Rubric 4
Student identifies the work as Florentine and gives three substantial reasons for this claim. There are no major errors. 3
Student identifies this as a Florentine and gives two reasons for this claim. 2
Student identifies this work as Florentine but gives only one reason OR
Student identifies the work as Sienese and gives some support for the claim. There are no major errors. 1
Student identifes the work as Florentine, but provides no other support
Student identifies the work as Sienese, but provides some support for the Florentine school. There may be major errors.
The student makes an attempt, but the response is without Merit.

21. Effects of Good Government in the City and the Country
Artist: Ambrogio Lorenzetti
Date: C.E.
Medium: Fresco
Location: Sala della Pace, Palazzo Pubblico Siena, Italy

22. Effects of Good Government in the City and the Country
Artist: Ambrogio Lorenzetti
Date: C.E.
Medium: Fresco
Location: Sala della Pace, Palazzo Pubblico Siena, Italy

23. Saint Louis Altarpiece
Artist: Simone Martini
Date:1317 C.E.
Medium: Tempera on Panel
Size: by inches
Location: Galleria Nazionale, Naples, Italy.

24. Annunciation Artist: Simone Martini Date:1331 C.E.
Medium: Tempera and gold leaf on Panel
Size: 42.5 by 43.5 Inches
Location: Galleria degli Uffizi, Florence, Italy

25. Annunciation, from Tres Riches Heurese du Duc de Berry
Artist: Limourg Brothers
Date: C.E.
Medium: Illumination
Size: 8.75 by 5.31 Inches
Location: Musee Conde, Chantilly, France

26. January, from Tres Riches Heurese du Duc de Berry
Artist: Limourg Brothers
Date: C.E.
Medium: Illumination
Size: 8.75 by 5.31 Inches
Location: Musee Conde, Chantilly, France

27. Pulpit, Pisa Baptistery
Artist: Nicola Pisano
Date: C.E.
Medium: Marble
Size: 15ft High.
Location: Pisa, Italy
- trilobed arches
Solomon’s throne (Lion) as a foundation for Jesus' teaching.
Still have Gothic elements, but referenced more heavily the Roman style.
Roman Columns, arches
Gothic is fused with Renaissance

28. Pulpit, Nativity, Pisa Baptistery
Artist: Nicola Pisano
Date: C.E.
Medium: Marble
Size: 15ft High.
Location: Pisa, Italy
Nativity scene references the Roman images of Venus as a central focus.
Around her the midwives was Jesus in a basin
Despite the Christian meaning the forms are distinctly Roman

29. Portal, Chartreuese de Champmol
Artist:Claus Sluter
Date: C.E.
Location: Chartreuse de Champmol, Dijon, Italy

30. Well of Moses, Chartreuse de Champmol
Artist: Claus Sluter
Date:1395 C.E.
Medium: Painted Stone
Size: 23’6” by 23’7”
Location: Chartreuse de Champmol, Dijon, Italy