Pietro Lorenzetti, Birth of the Virgin발음듣기
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Pietro Lorenzetti, Birth of the Virgin
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(piano playing) Dr. Zucker: We're in the museum of the Cathedral of Siena and we're looking at one of the great Sienese's artist, Pietro Lorenzetti's The Birth of the Virgin.발음듣기
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This is a painting that would have functioned as a secondary altar piece in the Siena Cathedral.발음듣기
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Dr. Harris: Well then let's remember that the Virgin Mary was the protector of the city of Siena.발음듣기
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Dr. Zucker: This is about the birth of the Virgin, not the birth of Christ, but the birth of Mary, herself.발음듣기
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I have to say that the Sienese pay attention in the 14th Century to architecture in a way that nobody else does.발음듣기
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Dr. Harris: We have the vaulting in the ceiling, the windows, the painted moldings, the tiles on the floor, the chest next to Anne's bed.발음듣기
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Dr. Zucker: It's true, even the fact that a bedroom was kind of public space and you can see Anne reclining on the bed, she's got a real sense of mask and volume.발음듣기
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Dr. Harris: I think Pietro has [Sienjato] because his figures are really bulky and three dimensional.발음듣기
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Dr. Zucker: Of course, Duccio, his master was already moving towards a sense of mass and volume using chiaroscuro but perhaps not as emphatically as Giotto had.발음듣기
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Dr. Zucker: Yeah, but if you look at the attendants who are washing Mary in the basin, they're pretty substantial.발음듣기
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The figure in green on the right looks like she could have come right out of the Lamentation from the Arena Chapel.발음듣기
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There are more attendants coming in with fresh cloths, it looks like, on the right and fresh water.발음듣기
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Dr. Harris: The two scenes on the right are unified in their architecture, although, Anne is separated out with the mother of Mary.발음듣기
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Dr. Zucker: In the left panel we see a room outside, where it seems as if Joachim, Anna's husband, is being told that the birth is taking place.발음듣기
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He's like an expectant father who's been worried about what's going on and is now anxious to hear.발음듣기
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As we walked around the streets of the city I can recognize buildings that looked like this.발음듣기
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Dr. Zucker: Of course it's important to remember that the architecture that we're seeing is 12th and 13th Century and of course that's 12 and 1300 years after this event would have taken place, so it's completely out of chronology.발음듣기
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I think the point was to create something that was familiar, something that the Sienese audience would recognize.발음듣기
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Not only do you have an interior space that is architecturally detailed, but if you look at the vaulting, for example, you can see where the ribs in the vaulting come together in the central panel and the panels on the right and the left they're obscured, as they would be if we were looking at those ceilings.발음듣기
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This is not linear perspective, but there is a real attention to the basic tenets of seeing space and rendering it on a two dimensional surface.발음듣기
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Dr. Harris: So there are diagonal lines that appear to be receding into space in the bedspread.발음듣기
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Dr. Zucker: Right, but I bet if we lined them up with a pencil we would not reach a single vanishing point.발음듣기
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