Movement from Byzantine Period to Early Renaissance Style

Movement from problematical Period to proto(prenominal) metempsychosis StyleThe transition from the Byzantine stoppage to the early conversion as seen through the lap uping of DuccioContents (Jump to)Abstract invention belles-lettres Re insureChapter One bloody shame of the Francis jakess and The Rucellai MadonnaChapter Two Madonna and barbarian and Maest,Conclusions and RecommendationsBibliographyAbstractThe purpose of this study is to assess the rationale for accepting the fantasy that the plant of the Italian painter Duccio di Buoninsegna have made a substantive impact on the way in which the transition from Byzantine to renascence tendencys buns be fit(p).The dissertation focuses its attention in p guile wagericular on the period in the region between 1270 to 1311 in which time Duccio was equip to paint a return of significant and high profile deeds namely Madonna of the Franciscans, The Rucellai Madonna, Madonna and Child and Maest. Using these four masterpiec es as the basis for analyzing their use of public figure, bit and the subtle influences of a much much realistic and kind-he inventionificeedistic quality. This will be compargond to Duccios innovative kind with the metempsychosis period in contradiction to the slenderly basic style much than associated with the Byzantine age that he was educateing in.IntroductionIt is principal(prenominal) perhaps to begin with an all everyplaceall definition of what is meant by Byzantine and Renaissance paint in order to put the mise en scene of where the machinationist Duccio resides in this discussion.The Byzantine blind movement was active from the period spanning the 5th angiotensin converting enzyme C AD to 1453 during the time when the Byzantine Empire was the close dominant. The period was have-to doe with on the Orthodox Church and featured painted icons, and decorative performes with Mosaics and frescoes. With the advert of Constantinople (Istanbul today) to the Turks in 1453, the Byzantine style to a fault ended. This occurred during the European Renaissance era only if the influence of Byzantine art remained strong in Russia, and opposite areas where the Orthodox Church was influential. The Byzantine style essentially grew emerge of conventional designs involving saints and biblical stories as come up as religious symbolic decoration. Figures correspond in this period do non have natural forms with humans figures depicted as unnaturally long, any emotion portrayed is throttle formal and still, and the facial cheeks are conventional and one dimensional. The nigh great(p) figures to be painted during this era are re lookations of Christ and the Virgin Mary, the apostles, the saints, Bishops and angels. The political structure of the period revolved around the emperor who was believed to be divinely ap doomed by God. prowess played a large authority in visualizing his powers with theatrical roles of gods, goddesses, cherubs, and personifications of virtues.Most historians believe that the birth of the Renaissance occurred in Florence, Italy during the 15th atomic number 6, but the smart movement can be seen to have been government issue and developing at least a snow before this. state to back this theory up will be presented throughout this opus. In divideicular the to the highest degree well known f these painters is Gioto, who is referred to in a number of instances within the body of this text. He introduced an early tercet dimensional quality to his impart however the position was inaccurate and unsophisticated, a inadequate like that of Duccio, with figures in pictorial matters often hovering in space in a shallow depth of field.The Oxford English dictionary definition for Renaissance is The taciturn Oxford Dictionary of fine art and cunningistsATerm meaning rebirth applied to an intellectual and dainty movement that began in Italy in the 14th century, culminated there in the s ixteenth century, and influenced other(a) parts of Europe in a great miscellanea of ways. The notion of a rebirth refers to a revival of the values of the classical world, and the concept was used as early as the 15th century, by Italians who thought they were sustainment at a time when the qualities of ancient art and belles-lettres were blossoming anew after centuries of barbarism. In the following century Vasari gave the idea of such a revival a systematically positive form he thought that art had declined in the Middle Ages, had been couch once again on its true path by Giotto, and had arise to its greatest heights in the work of his friend and hero Michelangelo. To redbrick historians this photo seems much too simplistic, and the Renaissance is seen more(prenominal)(prenominal) as a period of gradual miscellanea than as a sudden counteract with the past. Neverthe little, the intellectuals of the Renaissance were the first people to conceive a period individual ity for themselves, and this in itself gives the label certain coherence. Scholars may debate endlessly over the exact interpretation of legion(predicate) aspects of the period, but in the general historic scheme of things, the Renaissance has come to represent the time when knightly turns into advanced(a)(a) and the religion-dominated world of the Middle Ages gives way to a culture more have-to doe with with the individual.Although both terms have some(prenominal) connotations attached to them and a patient of scope of other historical quotations and intricate philosophies and ideologies for the purposes of this study they will be referred to in terms of their transcendence from flat, one dimensional religious iconographic scenes to the emergence of a humanistic and realistic portrayal of people, architecture and other living things providing a mathematical approach path to composition and a clarity of realism. on that point is little documented information relating to D uccios life and career. In large part his life can only be reconstructed, taken from the evidence of those work that have been confirmed as his own. The use of a new stylistic approach provides enough evidence to support the rationale that he was painting in accordance with very early Renaissance tendancies.Duccio is first mentioned in 1278, when the treasurer of the commune of Siena commissioned him to decorate 12 strongboxes for documents. The fact that he was officially self-employed as a painter demonstrates that he was a mature and independent artist quite early on. (Jannella, 1991) In 1280 Duccio was fined the extensive sum of 100 lire by the commune of Siena for an unspecified case of misconduct. The number of fines documented throughout Duccios life suggests that he was a nervous and tempestuous constituent.Three predominant shifts took place during the Middle Ages which would drastically change the soma of Western Civilization. These overwhelmdThe movement of cultural leadership from the Mediterranean to France, Germany and the British Isles.Paganism and barbarism was replaced by a new rig appreciation of ChristianityThe ideology of the here and now moved to thinking most(prenominal) the hereafter. Consequently the body was seen as not so much fine-looking but as corruptWith the new emphasis on religion, nudes were forbidden. Medieval artists were concerned with the soul and instructing new believers in the church. Art then became somewhat of a servant to the church.Medieval Art consisted of three styles Byzantine, Ranesque and Gothic. Duccios work is often categorize as Byzantine or Gothic.The central impost of Byzantine Art was located at the heart of Constantinople. The prevailing view of Byzantine Art is that it was highly true to nature, although coeval academics criticise the esthetic value of it, with flat surfaces and little realism, its reverse perspective radiating composition disregard for scale and depth etc.And that the main purpose of chaste expression was for images to serve and elevate peoples minds to immaterial realities. Although Byzantine Art is considered more Abstract than realistic.During the early 1400s the World began to appreciate a broader alternative to nice elements and influences. From Florence in Italy the new cultural appreciation penetrate to Rome and Venice and after 1500 throughout the whole of Europe. This new Renaissance can be portiond to the increased awareness and interest in the art and literature of Greece and Rome the natural world, realism and the accomplishment of the human body. Anatomy was study and reflected in the way in which artists started to paint people. The attributes of the natural world, realism and the science of the human body were now being contemplated. In addition the Protestant Reformation also decreased the emphasis on how religion and the church were perceived. Before the Renaissance and Reformation, pious images were treated not as art so much , but as objects of worship which possessed the physical bearing of the Holy.During this period the concept of Perspective was recognised and changed the whole visual interpretation of art. The illusion of creating depth on a flat surface was sight and objects could be seen to be receding in the distance. Even the materials changed from wooden panels and fresco plasterwork to stretched canvases. By the end of the 13century a birth of technically skilful painting emerged and one of those pioneers was Duccio who managed to break down the rigid Byzantine style, refilling it with a softer and more lifelike form. One doctrine cited in this paper is that of the Sienese School. To briefly explain The Sienese School of painting flourished in Siena in Italy Siena, most documented between the thirteenth and 15th centuries. For a time including Duccio this rivaled work coming out of Florence. Although it is true to mention that it was more conservative and is more frequently associated with Gothic Art. Its most important members include Duccio, his pupil Simone Martini, the Lorezetti brothers, Domenico, Taddeo di Bartolo and Matteo di Giovanni, amongst lesser known others. .In Owens The Florentine and Sienese Renaissance A monopsonistic account we are reminded that Historians have long been fascinated by the origins of the Renaissance and that For art historians this fascination has appeared in investigations of the prominence of Florence in artistic development or comparabilitys of Florentine, Venetian, and Northern artistic Renaissance movements. It considers the question of how the arts flourished so creatively in Florence rather than anywhere else. Declaring that Florentine artists have dominated the course of artistic development for 300 years in a straight line from Giotto to Michelangelo. It then begins to address the obvious influence which is attached to other European cities, most notably Siena. A city located less than forty miles from Florence which deve loped its own painting tradition and produced the Siena School. It can be argued that this school despite being innovative and receiving such early practitioners of Renaissance influence like Duccio it bypassed mainstream artistic developments that were forming in other cities such as Florence. One scholar notes .had this Sienese school not arisen we should have seen no disparity in the progress of Western painting.It is simply that Sienese painting forms, as it were, an island.The height of Renaissance Art is apparent in the workings of masters such as Leonardo, Michelangelo and Raphael.Duccio di Buoninsegna is often referred to as the Italian precursor to this Renaissance style. born(p) in Siena round 1255 Duccio was the founder of the Sienese school of painting. All of his work is religious and characterized by skillful composition, a decorative quality similar to mosaic work and most importantly bearing a much more frantic tone than that of the handed-down Byzantine model.As one of the most important painters of the early 14th century, Duccio introduced a propulsive move away(p) from the Byzantine style into early Italian Renaissance painting.Duccio was known for dynamic new altarpiece designs, a striking use of landscape and blazon, and unaccustomed expressive relationships between the figures in his paintings. Duccio painted many pictures for the city of Sienna and one for the church of Santa Trinita in Florence. He also executed miscellaneous works for a number of churches in Pisa, Lucca and Pistorla. These provided him with great renown and made him a considerably wealthy man.The first work ascribed to Duccio is the Madonna with the Three Franciscans. disrespect its damaged condition today it still demonstrates all the traditional features of the Byzantine period, but there is a definite softness and more defined features in the gestures of the produce and Child.The Madonna Enthroned (Rucellai Madonna) On first glance epitomizes many aspec ts of Byzantine painting, but on closer investigation the three dimensional qualities not found in iconography are very evident. The faces possess contours, fundament and light and a hint of personality. In particular Marys hand is more natural looking and the two pairs of bare feet on the right and left sides are also fleshed out and real looking. They do not sport the same sized shoes.These subtleties and more naturalistic, fluid lines are what provide the evidence to support Duccios work to be categorised in terms of a painter functioning within a style that incorporates the features of both Byzantine and Renaissance characteristics.This paper will present an overview of the discussions that seek to demonstrate this argument by way of illustration employ four of his most significant works Madonna of the Franciscans, The Rucellai Madonna and the by and by Madonna and Child and Maest.The Literature Review following on from this Introduction presents an overall and comprehensive approach to the way in which various publications, intensitys, articles, journals and network generators were interconnected into this dissertation. The subsequent chapters detail the main body of the text whilst demonstrating the determinations and conclusions determined from the research, together with a complete Bibliography of the references employed.Literature ReviewIn reply to the challenges of researching and presenting aspects of Duccios work there was a need to adopt a number of methods and approaches to this study. He is not featured amongst the most popular of artists and although he receives a following of academics and interested students Duccio does not necessarily receive the merited recognition for his inspirational insight and wealth of artistic material generated over a subtle space of time.Despite Duccio Buooninsegna not being the most well known of artists certain information is not limited due(p) to the fact that for some reason Duccio was a well docum ented character during his lifetime. Biographical text newss relating limitedally to the painter and his working life include the highly informative Duccio (Masters of Italian Art Series) by Andrea Weber. The large, sumptuously reproduced images cover up for the minimal amount of text. it provides a synopsis of Duccios years, of which little is written about(predicate) with regard to his private life. It documents his success as an artist in Siena and the various commissions he received. The book brings together the fragments of his Maesta and reconstructs it utilize a montage of photographs. distributively piece of the painting is analysed and written about, the most famous of which is the Rucellai Madonna, now residing in the Uffizi Gallery in Florence and is also explored in more depth in this research. This is a favourable book for those people who like iconic art and the work of early Italian masters.Duccio Di Buoninsegna by Cecilia Jannella is a good drug user friendly paperback reference book.with over 100 color reproductions. It makes reference to the man in relation to documentation that gos regarding his financial affairs and his willing spending sprees. It presumes that he was born between 1255 and 1260, and died in late 1318 or in the early part of 1319. It is well written and extensively researchedA reasonable potted source of chronological information also exists online. The Art encyclopedia website accessed from http//www.artcyclopedia.com/artists provides other reclaimable links to art galleries and contrasting reference sites peculiar(prenominal) to Duccio.Sourcing texts that refer specifically to his work also exist. The most profitable and comprehensive being Duccio The Maesta By Luciano Bellosi. This book combines all the elements of this famous altar piece using a series of glossy colour plates that amplify details to actual size. We see that the central panel depicts the Madonna enthroned contact by saints and angels, with the back showing scenes relating to the Passion. Other panels from the Maesta portray the Apostles and the Gospel mythThe informative text, by a well respected Italian art historian, discusses the social and historical context of Duccios commission, as well as the artists well versed relationship with his cotemporarys Cimabue and Giotto, and the influence of their work on Sienese and Italian painting.In order to gain an appreciation of Renaissance techniques in comparison to the Byzantine era Color and Meaning Practice and Theory in Renaissance Painting by Marcia B. foyer is an excellent approach directive the reader on the subject of How Renaissance painters used colour to immix their pictures, create symbolism and achieve the emotional expressiveness so lacking in Byzantine Art. Simplistic and explanatory it focuses on 20 paintings providing an insight into Leonardos naturalistic use of shadow in the Mona Lisa and the way in which Michelangelos flesh mouth hues miraculously li nk the figures in the Sistine Chapel. It also provides an insight into Titians penchant for bright, act upon in order to achieve movement. The writer allows us to appreciate Hall the limited resources so many of these artists had to hand, which makes their work even greater in its context. This text provides a traditional analysis whilst demonstrating a crypticaler scientific approach from the angle of the Conservation laboratory. The writer provides an insightful appreciation of the pillowcase of techniques incorporated between the fourteenth and sixteenth centuries. It explains how important the use of colour, light and shade is on achieving realism through art which has helped with the overall comprehension of works that have leapt from the Byzantine tradition onwards.Other places where Duccio is referenced are by way of an abundance of anthologies. In particular Artists of the Middle Ages By Leslie Ross. The individuation of artists is examined in the context of their relat ionship to some of the most influential works of Art in Medieval history. However as with most books on this subject the artists themselves lose a great deal in translation, as so little information exists regarding their lives.Ross investigates the Medieval Art world in terms of architecture, iconography, metalwork, and sculpture, whilst summarizing the lives and work of these leading artists. What is gained from reading this book is a factual idea of how an artists life is led, combined with a useful list of reference material as to how the work was collated. Readers are also provided with an insight into the practices and traditions of chivalric art and the role those traditions played in medieval society. A helpful timeline and full index gives scholars or interested students of Art History a breakdown of the research tools that are necessary for finding more information in this field.In terms of a definitive study providing a critical analysis that connects and provides evide nce for Duccio to be announce as a founding father of Renaissance art, no specific text appears to exist, although many hint to this relationship and subtlety found throughout his work. A re-examination of long established beliefs about the early renaissance painters can be found in Painting in the Age of Giotto A Historical Re-Evaluation By Hayden B. J. Maginnis, Andrew LadisThe study is the first to discuss the theories and observations of the sixteenth century art historian Giorgio Vasari in any detail. The writers argue the origins of modern views regarding the period and the ongoing critical strategies and conventions that exist in contrast to historical reality.In an investigation of the new art of the fourteenth century, Maginnis puts forward the argument that not only was the visual concept of naturalism remarkably short-lived but that that its main pioneers were the painters of Siena and not the painters of Florence.In particular the detailed analysis of Giotto the Florenti ne painter and architects work demonstrates that his art belonged to a different kind of trend. Through a re-examination of the historical and art-historical evidence related to painting fastly after the plague of 1348 the writers determine the existence of a new interpretation of painting by the mid-century.Iconography, Byzantine and religious art front to the Renaissance are discussed in detail in Hans Belting, Edmund Jephcotts colour and Presence A History of the Image Before the Era of Art. This book provides an overview of the concept of Byzantine Art and its true definition. That Byzantine Art was not necessarily an art form, but much more to do with worship and the recognition of all that is Holy. Hans Belting traces the long history of the sacral image and its changing role in European culture combined with the beliefs, superstitions and hopes, that exist in relation to peoples response and catch of taboo images. It is an interesting source of facts relating to European Christians and their churches. Not so relevant to the immediate content of this research, yet providing significant background to appreciating a part understanding of Byzantine Art. there is a chapter on Early Renaissance in Horst Janson and Anthony Jansons History of Art. And an overview of Duccio from the perspective of evidence that supports his early Renassance tendencies. Janson writes In Duccios hands the Greek manner has become unfrozen. The rigid, angular draperies have accustomed way to an undulating softnessThe bodies, faces and hands are beginning to swell with three dimensional life.This is a well established classic hand book of Art History with Extensive captions provided by twentieth-century art historians speaking about specific pieces of art featured throughout.Janson has also rearranged early Renaissance art according to genre rather than in terms of any specific time sequence. Ultimately this paper is too trying to demonstrate a grounded positioning of the work of Duccio for inclusion within the Early Renaissance which does not necessarily need to be defined in terms of geographical location or specific timeframe.Sienese Painting From Duccio to the Birth of the Baroque by Giulietta Chelazzi Diniis a volume tracing the correlation between the Sienese painters namely Duccio di Buoninsegna, Simone Martini, and the Lorenzetti brothers and the infiltrate of Renaissance painting. It also extends to include painters right up until 1700 and charts the success of lesser known artists such as Rutilio Manetti, whose style changed radically when exposed to the work of Caravaggio. The last chapters focus on Baroque paintings but the focus for the fib is principally early Sienese masters. It documents the struggle towards naturalism. It is organized chronologically, with well documented texts on each period and work.Additional reading from a chronological perspective includes Duccio di Buoninsegna by Curt H. Weigelt which is an early novel and the f irst attested narration of the painter written in German in 1911, R.S. Van Marle, The emergence of the Italian Schools of Painting, vol. 2 make in 1924. This contains a chapter on Duccio published in English but providing little scope for original ideas.Duccio di Buoninsegna (1961) is an interpretation, in Italian, of the work of Duccio and boasts a number of colour reproductions of his established works Duccio (1951) by Brandi, is an Italian language text that comprehensively researches the works of Duccio from the perspective of more modern consideration. Later works in English include flush toilet White, Duccio Tuscan Art and the Medieval Workshop (1979) James H. Stubblebine, Duccio di Buoninsegna and His School (1979) Cecilia Jannella, Duccio di Buoninsegna (1991), with many colour illustrations of his work Andrea Weber, Duccio di Buoninsegna, About 12551319 (1997).The Documents and Early Sources (2000), ed. by Hayden B.J. Maginnis is one of the most modern approaches to Duc cios work. It offers a series of research tools with which to take barely research forward.Chapter One Madonna of the Franciscans and The Rucellai MadonnaMadonna of the Franciscans is a small Tempera on wood, Tempera being a technique using powdered pigments mixed with egg yolk and water. It is chronologically the first work ascribed to Duccio in the Academy of Siena. Despite its damaged condition it shows many of the traditional features of the Byzantine era , but the formal stiffness of the ancient Hodegetria (Greek iconography) type has been softened to produce the effect of a more kindly and human depiction. Yet the composition is still dignified apparent though the gestures of Mother and Child toward the kneeling figures. The overall design has been softened with its characters flowing and lucid.The picture portrays the enthroned Madonna of the protective mantle. A type derived from Byzantine Art. The three Franciscans kneeling at the virgins feet demonstrate imploring gesture s and intense emotional expressions. This is a cult Byzantine image, yet one that relays far more expression than typical to the style. Particularly as her head is looking out of the picture at the viewer. Her head remains the central focal point of the composition, whilst at the same time maintaining a calm, concentrated devotion. The style of artistic representation captivates the audience and pulls the viewer into its world. There are fine undulating metallic lines at the hem of the Madonnas mantle, which is traditional to that applied to emeritus early paintings. alone as a rule Duccio always refrained from coat garments entirely in notes.By painting the hems and seams only in gold this makes elements of the painting stand out further and encourages an appearance of sumptuousness. In Duccios time the colour that most represented glamour was the blue which was obtained from the semi-precious rock n roll Lapis Lazuli. This was far more expensive than gold and used frequently in painting to highlight the rich ornate quality of the work. So by avoiding its use Duccio is in fact contradicting his images. Making them at once more emphasized and yet down playing them at the same time. And is in direct contrast to the Byzantine opulent representationsDuccio responds again to the contemporary go for for the modernisation of Art by adapting to the French artistic model in this painting with the inclusion of French gothic motifs in their pure form on individual standing figures. This blatant clear French derivation and the measured breadth of contour, the curving of the robes hem and the smooth masses of colour make up part of a wider spatial dimension. Here the Gothic preference for linearity and flowing lines reaches its climax. This consequently encourages a pervading sense of brio and movement through expression.Duccios Madonna of the Franciscans echoes the compositions developed in Armenia and Cyprus amongst meliorist artists. It can also be identified in terms of its unparalleled composition to being an early precursor of the Renaissance master Piero della Francescas triptych depicting the Madonna della Misericordia.Where the virgin is drawn holding back the go on of her robe the better to receive and protect the three kneeling friars.The solve combination of echoes from the Italian mosaic painter and Duccios Florentine contemporary Cimabue alongside the added softness of Duccios own unique personal touch, inspires elements of the new artistic language of the Renaissance.The features of the beseeching friars and the throne which represents a simple wooden empennage placed at an angle to create an effect of perspective, reflects the teaching of Cimabue, who tutored the moot artists Giotto. Controversial in terms of his professional association with Duccio and the centuries of scholarly aspiration which has evolved in relation to authenticating their works. The unusual posture of the Childs legs is again out of context and re peats the gestures of his early Madonna of Buonconvento and the Rucellai Madonna.When trying to understand Duccios style better his Madonna Enthroned, also known as the Rucellai Madonna is one of the beaver examples. The Rucellai Madonna was commissioned on April 15, 1285, by the Confraternity of the Laudesi of S. Maria Novella in Florence. This contract was discovered in the 18th century and led to the study of the early biographer Giorgio Vasaris attribution of the Rucellai Madonna to that of Cimabue. Nonetheless the proven infotainment evidence and the obvious difference in style between the Rucellai Madonna and Cimabues other paintings still lead some academics to legitimise the painting as being that of Cimabues. There are also others who are loath to think either responsible due to the distinctive style and attribute the work to an unknown third artist the general consensus is that the painting belongs to Duccio. There is nothing in the style of the Rucellai Madonna that m akes its attribution to Duccio implausible. This fact incontrovertible the documentation relating to the contract of 1285 certainly makes such an attribution acceptable.In stylistic terms, the Rucellai Madonna remains fundamentally Byzantine in many ways. But demonstrates a use of colour uncommon in the late 13th century. For example the dress of the six angels illustrates an abandonment of symmetry and reveals both the deep colors of the more traditional Byzantine period teamed with pastel silver-tongued lilacs, pinks, and light blues, giving the painting a softer and decorative appearance. This decorativeness is exaggerated by the fluid gold lines that trace the hem and opening of the Virgins mantle.The Rucellai Madonna is so refined that it excels as an example of more advanced artistic thought. Delicate hues make up the formation of the throne and the shimmering material of honor behind the virgin.The gold hem of the