Duccio, The Rucellai Madonna발음듣기
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Duccio, The Rucellai Madonna
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Duccio, The Rucellai Madonna
You know--the Florentines get all the credit and it's important to remember that there was another major city in the 1300s that was also in Tuscany that was another independent republic and this is the Republic of Siena with the capital city of Siena.
And there was an enormously important and influential painter there whose name was Duccio.
And so let's look at one of his most important paintings the Rucellai Madonna.
Dr. Beth Harris: We're looking at a painting of the Madonna holding the Christ child surrounded by three angels on either side, and twelve feet high so a very large painting.
Dr. Zucker: Yeah, it's a huge painting.
In fact, the virgin Mary herself is twice the height if not larger than a human being it's an altar piece that's meant to be seen a great distance within a huge church.
Dr. Harris: And there's so many decorative patterns here, on the throne, in the spaces in between the posts that make up the throne, we see reds and blues.
And then we've got more patterning in the drapery behind the throne.
Dr. Zucker: The characteristics that you're referencing are seen by art historians to be the definition of Sienese art of this time highly decorative, highly patterned and with a subtlety of color that we don't often see in Florentine.
Dr. Harris: First of all, Mary's whole body is in this lovely ultramarine blue which was a very expensive paint, but the angels--we see purples and greens and pinks and blues.
Dr. Zucker: And they are subtle and prismatic in a way that we don't so much see in the flatter colors of the Florentine style.
Dr. Harris: It's hard to say that Mary's sitting "in" her throne. (laughter)
Dr. Harris: The throne itself is so flat.
Dr. Zucker: It's almost a background against which she is seen.
There's so much details and so much decorative patterning in the throne, especially in the cloth that drapes the throne that it's structure get's lost, because pattern of course does emphasize the two dimensional.
You know when I look at Sienese art especially the Rucellai Madonna, I tend to think of an artist who is so in love with the ability to create beauty that pattern and form tend to trump the overall representation and the emphasis on any kind of naturalism--or any physicality.
For instance look at the Byzantine influenced hands of Mary look how long those fingers are.
It's almost as if the artist has gotten lost in the length of those fingers as they wrap around Christ waist.
Dr. Harris: They are very beautiful--those hands.
I'm thinking also about the amount of gold here.
We see the disappearance of all of that gold through the 1300s and to the 1400s.
Here the painting's value is largely in that ultramarine paint that was expensive and in the use of gold.
And what happens during the Renaissance is that the artist, himself, is valued the artist's skill becomes more valued.
Not that Duccio's skill wasn't valued, but the value was also heavily in the materials that were used that were often dictated by the patron.
Dr. Zucker: Now the ultramarine blue that you are referencing was actually made of the semi-precision stone--lapis lazuli.
And during the Renaissance, the only mines that were available for lapis were in Afghanistan still a remote place for us in the 21st century.
One can only image how exotic and rare and difficult importing from Afghanistan would have been in the 1200s.
Dr. Harris: And here we have an enormous quantity of that color being used.
Dr. Zucker: So this is--in some ways--ostentatious.
In some ways this is a painting that is broadcasting its value, its wealth, its importance.
what's so interesting is this was a commission for the main altar in Santa Maria Novella in Florence although it's by a Sienese artist and Santa Maria Novella is the main Dominican church that is one of the mendicant orders this order of begging monks that had renounced worldly processions,
so there's this interesting tension we had mentioned that this is called the Rucellai Madonna,
and that's a later title this painting was later moved away from the main altar in Santa Maria Novella and into the Rucellai Chapel that is the private chapel that was controlled by the Florentine family--the Rucellai (music)
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You know--the Florentines get all the credit and it's important to remember that there was another major city in the 1300s that was also in Tuscany that was another independent republic and this is the Republic of Siena with the capital city of Siena.발음듣기
대기중
Dr. Beth Harris: We're looking at a painting of the Madonna holding the Christ child surrounded by three angels on either side, and twelve feet high so a very large painting.발음듣기
대기중
In fact, the virgin Mary herself is twice the height if not larger than a human being it's an altar piece that's meant to be seen a great distance within a huge church.발음듣기
대기중
Dr. Harris: And there's so many decorative patterns here, on the throne, in the spaces in between the posts that make up the throne, we see reds and blues.발음듣기
대기중
Dr. Zucker: The characteristics that you're referencing are seen by art historians to be the definition of Sienese art of this time highly decorative, highly patterned and with a subtlety of color that we don't often see in Florentine.발음듣기
대기중
Dr. Harris: First of all, Mary's whole body is in this lovely ultramarine blue which was a very expensive paint, but the angels--we see purples and greens and pinks and blues.발음듣기
대기중
Dr. Zucker: And they are subtle and prismatic in a way that we don't so much see in the flatter colors of the Florentine style.발음듣기
대기중
There's so much details and so much decorative patterning in the throne, especially in the cloth that drapes the throne that it's structure get's lost, because pattern of course does emphasize the two dimensional.발음듣기
대기중
You know when I look at Sienese art especially the Rucellai Madonna, I tend to think of an artist who is so in love with the ability to create beauty that pattern and form tend to trump the overall representation and the emphasis on any kind of naturalism--or any physicality.발음듣기
대기중
For instance look at the Byzantine influenced hands of Mary look how long those fingers are.발음듣기
대기중
It's almost as if the artist has gotten lost in the length of those fingers as they wrap around Christ waist.발음듣기
대기중
Here the painting's value is largely in that ultramarine paint that was expensive and in the use of gold.발음듣기
대기중
And what happens during the Renaissance is that the artist, himself, is valued the artist's skill becomes more valued.발음듣기
대기중
Not that Duccio's skill wasn't valued, but the value was also heavily in the materials that were used that were often dictated by the patron.발음듣기
대기중
Dr. Zucker: Now the ultramarine blue that you are referencing was actually made of the semi-precision stone--lapis lazuli.발음듣기
대기중
And during the Renaissance, the only mines that were available for lapis were in Afghanistan still a remote place for us in the 21st century.발음듣기
대기중
One can only image how exotic and rare and difficult importing from Afghanistan would have been in the 1200s.발음듣기
대기중
what's so interesting is this was a commission for the main altar in Santa Maria Novella in Florence although it's by a Sienese artist and Santa Maria Novella is the main Dominican church that is one of the mendicant orders this order of begging monks that had renounced worldly processions,발음듣기
대기중
so there's this interesting tension we had mentioned that this is called the Rucellai Madonna,발음듣기
대기중
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