Duccio, Maesta (front), 1308-11발음듣기
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Duccio, Maesta (front), 1308-11
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Duccio, Maesta (front), 1308-11
We are in the museum of the cathedral of Siena, and we are looking at probably , the singlemost famous work of art from Siena, and certainly one of the most important works of art from the 14th century.
This is Duccio's Maesta.
The title means the Virgin Mary in majesty and we see her very large in the center of the main panel.
She is by far the largest figure anywhere in this painting.
This is a polyptych.
It is made of many many panels, not all of which are here in the museum unfortunately.
Maestas peter on both the front and the back.
The Mary is on the front and the stories of Mary's life are on the front but the story of Christ is on the back.
So in a sense this is a free standing painting.
It is a large sculptural object that has all this imagery all over.
And the figures of the saints and angels are almost life size.
Its true, and there are three rows of them and they are lined up almost as if you worked for a class picture.
There are four local saints in front, and then angels and saints in the second row and I think an unbroken row of angels in the back.
Now we would have originally seen a predella below, that is a stab of small paintings, and then above the large panel, there would have been the series of saints as well.
We think that the predella, would have held the scenes of the early life of virgin Mary and above her death and ascend to heaven and then there would have been in the elaborate frame.
In the previous century, Siena had won a significant battle against its arch rival Florence.
Now Siena and Florence were wealthy city states.
That is they were independent nations and were often at war with each other.
Siena believes that they won because of the grace of Mary.
Many years later the town of Siena commissioned their most famous painter Duccio , to create a very large painting, which was dedicated to Virgin Mary.
It would have stood exactly on the altar of the cathedral in the crosslink just under the dome As you cross the higher altar you would be able to make out.
Just at the bottom an inscription that read, 'Holy Mother of God, be the cause of peace to Siena, and to the life of Duccio, because he has painted thee thus.'
Now Siena was very much a competitor of Florence.
And the great Florentine painter of the day was Giotto.
He had painted a major cycle, telling the story of the Virgin Mary. of the Christ's parents, of Christ himself and in some ways the Maesta was a kind of answer to that.
We can do this too.
We can be as comprehensive and have a masterpiece too.
And I think they proved that they did something that their rival Giotto did in the arena chapel.
But Giotto's painting was a fresco.
Fresco did not make sense for the cathedral of Siena because the cathedral of Siena is made of alternating blocks of black and white marble.
It has a very decorative interior, that wouldn't have worked with fresco and so it made sense to do a panel painting for the altar piece.
And you have to remember that at the end of the medieval, Mary had taken on an enormously important role.
she was the bridge that normal people could access Christ through.
You would speak and pray to the virgin Mary and she would perhaps speak to her son on your behalf.
She had the role of an intercessor, or someone who intercedes between god and mankind.
As is traditional, she is garbed in an intensely bellowed, that must have been fabulously expensive, given of the lapezzawould have been required to produce that artillery in paint.
There is this beautifully embedded gold in the strait behind her.
There are lot of decorative surfaces, representing that this is particular to the Siena style.
There is a sense of delicacy, and Christ has modelled him there is a kind of transparency and around his leg there is a beautiful mutilation of light and shadow that is being used here not only strylation of gold.
This is not the earlier work of Chimabue,this is a work of Duccio who is moving steadily and consciously it is creating a sense of real mass and real volume.
the drapery about the Christ is softly and beautifully modelled.
look at the Christ in her hands pearls in her drapery and the modelling that we see under Christ's chin and neck it really is three dimensional and the way we begin to see its life charter also in the early thirteen hundreds, creating forms that were three dimensional and look at the face of Christ.
there is a look of awareness and wisdom that is piercing.
he seems to look directly at us and it is the stare of a fully conscious adult.
the angels are remarkably animated.
Some look at Mary,, some look away, some look at us there is a kind of informality.
It's true that informality is so unexpected.
You would expect something more rigid this is the court of heaven after all.
This is quite wonderful and gives it a sense of complexity and also noticing the lovely curls that make up the wings of the angel somehow actually make to feel like feathers it gives us a sense of volume and the wings are not flat,
and now in the ground we see the throne opening out moving into our space now remember that in the medieval era the cathedrals and churches in general were not open for people to walk through as they are now.
And the lay people as they are known would have gone to the front of the church only the area at the back of the church, the altar would have been reserved for those who had worked directly with the church.
It is interesting to note the relation that the men who had the power to access to this side of the painting that focused on virgin Mary the intercessor between man and the divine a more privileged reach was available to the monks and the priests to those who were closely associated with the church.
let us take a walk at the back and take a look at that panels.
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We are in the museum of the cathedral of Siena, and we are looking at probably , the singlemost famous work of art from Siena, and certainly one of the most important works of art from the 14th century.발음듣기
대기중
The title means the Virgin Mary in majesty and we see her very large in the center of the main panel.발음듣기
대기중
The Mary is on the front and the stories of Mary's life are on the front but the story of Christ is on the back.발음듣기
대기중
Its true, and there are three rows of them and they are lined up almost as if you worked for a class picture.발음듣기
대기중
There are four local saints in front, and then angels and saints in the second row and I think an unbroken row of angels in the back.발음듣기
대기중
Now we would have originally seen a predella below, that is a stab of small paintings, and then above the large panel, there would have been the series of saints as well.발음듣기
대기중
We think that the predella, would have held the scenes of the early life of virgin Mary and above her death and ascend to heaven and then there would have been in the elaborate frame.발음듣기
대기중
In the previous century, Siena had won a significant battle against its arch rival Florence.발음듣기
대기중
Many years later the town of Siena commissioned their most famous painter Duccio , to create a very large painting, which was dedicated to Virgin Mary.발음듣기
대기중
It would have stood exactly on the altar of the cathedral in the crosslink just under the dome As you cross the higher altar you would be able to make out.발음듣기
대기중
Just at the bottom an inscription that read, 'Holy Mother of God, be the cause of peace to Siena, and to the life of Duccio, because he has painted thee thus.'발음듣기
대기중
He had painted a major cycle, telling the story of the Virgin Mary. of the Christ's parents, of Christ himself and in some ways the Maesta was a kind of answer to that.발음듣기
대기중
And I think they proved that they did something that their rival Giotto did in the arena chapel.발음듣기
대기중
Fresco did not make sense for the cathedral of Siena because the cathedral of Siena is made of alternating blocks of black and white marble.발음듣기
대기중
It has a very decorative interior, that wouldn't have worked with fresco and so it made sense to do a panel painting for the altar piece.발음듣기
대기중
And you have to remember that at the end of the medieval, Mary had taken on an enormously important role.발음듣기
대기중
You would speak and pray to the virgin Mary and she would perhaps speak to her son on your behalf.발음듣기
대기중
As is traditional, she is garbed in an intensely bellowed, that must have been fabulously expensive, given of the lapezzawould have been required to produce that artillery in paint.발음듣기
대기중
There are lot of decorative surfaces, representing that this is particular to the Siena style.발음듣기
대기중
There is a sense of delicacy, and Christ has modelled him there is a kind of transparency and around his leg there is a beautiful mutilation of light and shadow that is being used here not only strylation of gold.발음듣기
대기중
This is not the earlier work of Chimabue,this is a work of Duccio who is moving steadily and consciously it is creating a sense of real mass and real volume.발음듣기
대기중
look at the Christ in her hands pearls in her drapery and the modelling that we see under Christ's chin and neck it really is three dimensional and the way we begin to see its life charter also in the early thirteen hundreds, creating forms that were three dimensional and look at the face of Christ.발음듣기
대기중
This is quite wonderful and gives it a sense of complexity and also noticing the lovely curls that make up the wings of the angel somehow actually make to feel like feathers it gives us a sense of volume and the wings are not flat,발음듣기
대기중
and now in the ground we see the throne opening out moving into our space now remember that in the medieval era the cathedrals and churches in general were not open for people to walk through as they are now.발음듣기
대기중
And the lay people as they are known would have gone to the front of the church only the area at the back of the church, the altar would have been reserved for those who had worked directly with the church.발음듣기
대기중
It is interesting to note the relation that the men who had the power to access to this side of the painting that focused on virgin Mary the intercessor between man and the divine a more privileged reach was available to the monks and the priests to those who were closely associated with the church.발음듣기
대기중
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