History of Arts in Medieval and Renaissance Italy

19.09

Until 727, Bologna was a Byzantine city

After the 11th century it became one of the largest cities in Italy

Until 186, Bologna was part of the kingdom of popes

774- Emilia-Romagna was under Popal Control

Bologna law was different

German Emperors controlled a part of Italy

Revolution

Arch of Constantine- late roman architecture. They used “dedication inscription”, “roundels”,
“frieze” - combined art works from different periods

Compare the different sculptures to analyse the different art works between the constantine period

Symbolism (stylization of figures) became more important than representation (different sizes)

Latin derived directly from Greek Culture

Christian changed the perspectives of Empire -> art changed

The Basilica of Maxentius and Constantine- public space where the population gathered between
the most important politically moments

Cathedral- the place where the Bishop is; where he lives and works.

Basilica- was built by the bologna comune (public properties). They became one of the biggest art
artefacts in Europe.

Diocietian’s Palace (Split, Croatia)- towers and walls to protect the city. The perspective of an empire
changed a lot.

Diocletian’s Mausoleum (Croatia)

Octagonal building floors

Romanesque architecture- renewed the late roman architectural features

The Villa Romana del Casale (Sicilia)- byzantine realistic mosaic pavements that were later under
roman geometrical pavements; thermal baths; commercial offices

One of the first Christian fresco- tomb of Cerula, Napoli; inscriptions: christian communities
alphabets

1204- withdraw of various art works that were taken to Venice

Stylization: figures were designed with no emotion

The Colossus of Barletta (Puglia)- survived from the Roman Ages. Some believe that it was originally
in Ravenna

Renovation Empire- renewal of the idea of the roman empire in the western countries

Neptune Statue- example of the Popal kingdom in the city because they tried to destroy it

Tribute to the Roman Culture- presence of symbols (connection between heart, power and
population)

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30.09

Monday 3rd October- Ravenna trip

Meeting Point: Rav Sta 13:30

+39 3386357868

11,50

“The Thorhalle”- Combination of classical styles in a unique architectural building; combination of

the colours (white stone and bricks- typical of the classic era)

Renaissance of the classical architecture

Art become essential to sustain (political) power

Roman columns, frisos, marble, etc used in Germany (including Ravenna)

For the first time after the Roman Empire, an artist used bronze in an equestrian statuette of a
Roman Emperor (symbol of political power; symbol of the renovation of an empire)

“The Pope St.Gregory the Great in his studio”: New medieval way of art; use of colour- creates space
in the image; position (Pope- bigger/more important; servant-smaller). Perspective disappears

Renewal of colours and symbols

Romanesque and gothic period: restauration of a lot of buildings

“The Golden Altar”: Classical idea of the artist signing his art creation (Vulvinio)

Traditio legis: St Peter and St Paul; 2 keys- 2 powers of church (metaphysical power and
physical/earthly power) Spiritual and political power

Bishop lived in St Ambrogio, Milano

Church after Carlo Magno became fundamental in the relationship of the

1054: east church under the byzantine empire went on a different direction

Western europe: Pope became really important

Basilica and Baptistery of St Vincent at Galliano: bridge between Octonian art and 1 st Romanesque
art

Wall of the nave: Mural paintings of the Old Testament stories and New Testament stories

Ariberto: last Bishop Duque of Milan- politic situation changed in Milan when he died 1040

Popular government (comune) first appeared in Amalfi, because of merchants. However, it’s not
democracy, it’s the oligarchy government (slavers are not able to vote, only free-people)

727 Liutprando invades Ravenna

800 Charles Magno became Emperor

936 Otto I became Emperor

1005 Ariberto in Byzantine

Pipino (symbol king) -> Carlo Magno (King/Emperor)

Carlo Magno introduced the religious Popal power to the educational system (Universities were
founded for political reasons)

Arab legacy in the South of Italy: agricultural technology, mills, numbers, philosophy, medical
sciences

Fight between Byzants, Arabs and Lombards

Romanesque style is the common style between a lot of European countries (inspiration from the
costantine era art style)

Roman style: bad composition

Bay is the solution to expand the structure of the church (result of the increase of population)

Feudal system: characterizes the division of the churches structure (the most important people stay
close to the altar)

Sculptures were depicted with bright colours

St Ambrogio: one of the best ex of the Romanesque style (bay, portico, roman arches, etc)

Interior: creates a uniform light and brightness

Bay: visual direction to the most important place in the church (altar)

Matroneum: accommodated women (first floor)

Altar, ciborium (cálice de hostias), Tiburio

Comune in Pisa: created the structure of a religious place in a classical way

Bruscheto and Rainaldo: used geometrical decoration- carrara marble and black marble to create a
visual effect (connection between the outside and the interior). Renewed the concept of public,
religious and political spaces.

Population chooses churches as a place to demonstrate social classes and political views
 10.10

Monday 17th October- Neptune fountain 13:30

Late Romanesque art- influenced gothic art

Monsters figures- derived from classical/medieval literature and art

Relationship between illumination and sculptures (relation between 12 th and 14th centuries)

Perspective in Romanesque art (represented by the difference of colours)

Persistence with Romanesque art in Italy. Bricks were used for centuries.

In contrast with Romanesque Art, Gothic art changed the situation in Europe. Relation with Classic
Art

Gothic architecture

 Light
 Stained Glasses (vitrais) para iluminar o ambiente dentro da igreja
 Flying buttress (arcobotantes) para aumentar a altura das igrejas. Sustain the high part of
the nave
 Gold leaves
 Spires (pináculos)
 Gothic arches

In Italy, the gothic revolution started with sculptures. It started in Parma

“The Deposition of the Cross”-Description of normal life episodes (final touch of Christ). Influence in
Byzantine iconography, classical representation of the moon/sun (paganism). However, revolution in
term of the representation of figures and its emotions.

“Portal of the Last Judgement”- Combination between colour and different kind of stones.
Inscription with religious passages. The artist projected a project for the all community.

Importance of the colour in architecture- Antelami used Vitruvius idea in his projects

“February”

 Naturalistic background
 Hair
 Drapery (Vestes com vincos)
 Shoes with laces

The Capuan Gate- commissioned by Frederic II to separate the South of Italy and the Papal State
(located in the middle of Italy), in the Volturno River. Relation with Classical roman architecture

Nicola Pisano (sculptor/architect). Renewed the idea of Pulpit (usually it’s not fully decorated, it’s
usually geometrical ou com motivos de natureza), using episodes about Christ’s life in the panel.
Influencia de Roman sarcofagos, frisos. Ex.: “Telamon” inspired in Hercules (position and muscles;
the majority of the statues were not coloured because he used carrara marble, que tinha
semelhanças com o ivory das antigas igrejas bizantinas)

Late Medieval and Renaissance artists- corrente artistica derived from the school of Nicola (including
Giotto). Composition of symbolic statues. Renovation of Christianity
Aqueduct- typical of the roman era

“Fontana Maggiore”- relembrar um aqueduto. Encomendado pela comune de Peugia para

demonstrar os feitos do seu governo. Mythological episodes; historical episodes of the medieval
ages (medival saints)- typical concept of time in the Renaissance artworks. Presence of the saints
and bishops; classical art (ninfas)

Giovanni Pisano- after Nicola, he was the most important sculptor in Italy. He had a relationship
with Giotto. Kept the relation with classic art but also introduced gothic features

 “Pulpit”- symbolic figures of animals; figures derived from classical art (prudence; venus
pudica (afrodite))

Arnolfo di Cambio

 Ciborium- fusion between gothic features and classic roman art

 Statue of Bonifacio VIII- commissioned many statutes; first Pope that used this propaganda
tactic under the religious control

28.10

Leon Battista Alberti

 Humanist
 Relationship between art and theories (+metaphysical)
 Law student in Unibo
 Stoic wiseman; moral dialogues
 Theorist of the arts; treatises on the arts
 Comic literary works (philosophical teachings through laughter)
 Superiority of the word over the image-> The old prejudices to be eradicated by Alberti
 Painting is not an art but a discipline
 Painting is mistress of all arts
 Paintings means embracing the surface of Narcissu’s pool (turned into a flower)

Combination between colour, architecture and decoration in Roman tradition -> Alberti
reintroduced this concept in the Renaissance

Alberti transforms a Medieval church in Pagan Temple

Triumphal arch

The architect took from the painter architraves, capitals, bases, columns and pediments

“Concinnitas”- refers to an architectural theory based on balance, reflecting an editorial policy of

academic independence and scientific rigor, but also availability for new artistic propositions and
theoretical debates. intends to respond to the need for training artists, teachers and researchers, as
well as the public, meeting the growing demand for professionalization, improvement and
specialization, and contributing to qualitatively improve production, research and teaching

Giotto praised for the physical representation for the mental states

De re aedificatoria: “Sulla materia del costruire”; “ Sobre a arte de construir”

Doric, Ionic, Corinthian, Tuscan

Ele tentou absorver todas as novas informações e técnicas quando chegou a Florença. Rodeou-se
das personagens mais influentes da época (incluindo Brunelleschi). Logo, algumas das técnicas e
teorias descritas nos seus textos, foram, na verdade, inventadas por outros colegas.

Importance of Genova: Giotto, neo-giottesch painters and Alberti (new generation of painters)

1. First Renaissance Generation

Masolino vs Masaccio, Adam and Eva fresco, Brancacci chapel, in Florence

Masolino: chiaroscuro technique; details of physiognomy; emotion

Masaccio: perspective technique; atmospheric effect; sculptured with colour (derived from
Donatello’s)

Masaccio, The Trinity, Santa Maria Novella: controlled the trilogy paintings -> demonstrated that he
was one of the best painter/projectist in the quattrocento

Domenico Veneziano: pupil of Masolino and Masaccio -> changed the history of art in northern italy

 Atmospheric effect
 Used of light to illuminate the figures
 Details of the clothes
 Colours of the figures (derived from Masolino)
 Body and position gestures (derived from Donatello)
 Master of Piero della Francesca

Beato Angelico

 Used oil
 Studied Masolino, Masaccio and painters from the north of Europe
 Combination of light, brightness
 Representação suave

Paolo Uccello

 Wrote mathematical treats

 Perspective
 Chiaroscuro
 Vanishing point

2. Second Renaissance Generation

Piero della Francesca

 Wrote mathematical treats

 Figuras espelhadas na água
 Metaphysical artist without connection with reality (which is proved to be wrong nowadays)
  Muscled body
 Mathematical composition
 Painted ancient heroes (Hercules, Alexandre)
 Became and intellectual figure (typical of the Renaissance)
 Second part of his career: oil paintings (he studied Northern paintings)
 Light effect for stratification
 Details in the face

Until 1419: Frederico de Montefeltro- most important mecenat

The new art movement started in Florence but spread out to the rest of Italy

Last lesson Friday 4th November meet 3pm in St. San Giacomo to go to the Pinacoteca