ARTS 150 1st Edition Lecture 2 Outline of Lecture 2I. Gothica. Originb. Cathedral de Notre-DameOutline of Lecture 3I. Republic of Florence (center of Renaissance)II. Western and Eastern Roman EmpireCurrent LectureRenaissance=rebirthHumanism=renaissance sees humans as essentially good and rational. Artists begin to question certain Medieval Christian beliefsEx: If you get sick - Before: god is mad at you and you have to suffer After: you're just sick and you can take medicineI. Republic of Florence - main center where the Renaissance movement starts, has enough wealth to patronize arta. Compare: i. Cathedral Notre Dame of Chartres (1190-1250), France, Gothicii. Palazzo della Signoria (early 14th), Florence, late medieval- early renaissanceiii. Loggia dei Lanzi, (l. 14th), Florence, early Renaissanceiv. Pont du Gard (1st c. CE), France*belief: "the enlightened city should invest in art for its people to enjoy and experience" II. Western and Eastern Roman Empirea. Christ in Majesty (12th c.), Byzantine, frescoStylized=simplified, enough key features for recognition, but not natural, flat/no illusion of depthb. Virgin and Child Enthroned (l. 13th c.), Florence, Italo-Byzantine, tempura, byCimabue, 12'i. shading becomes subtler, art takes on a more natural appearanceHieratic scale=main focus of piece is the largestTempera=mineral pigments mixed with egg yolk and painted onThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.c. Virgin and child enthroned (early 14th), Florence, early Renaissance, tempura on wood, by Giotto, 11'i. depth is being incorporated, shading, occlusion to show depth/overlappingd. Scrovegni (or Arena) Chapel (1305), e. Renaissance, by Giotto, fresco, building walls and ceiling, barrel roofUsury=lending at high interestFresco=wall, arriccio (rough plaster), intonaco (smooth plaster), water based paint on damp intonaco-must be completed before plaster dries, piece by piecee. Lamentation (1305), e Renaissance, by Giotto, fresco, ~7'x6', in the ScrovegniNaturalism, Naturalistic =creating a work that is as close to real as possible, usually through
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