Fra Angelico, The Annunciation발음듣기
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Fra Angelico, The Annunciation
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(jazz music) Dr. Zucker: We're in the large complex that is the convent of San Marco in Florence and we're standing in one of the cloisters.발음듣기
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It's a beautiful space with frescoes and all of the lunettes and a large fresco by Fra Angelico of the crucifixion.발음듣기
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This is a space where people would have given up their worldly possessions and traded them in for a life of prayer and solitude.발음듣기
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Dr. Harris: It's a famous place, largely because this is where Fra Angelico spent most of his life and where he painted a whole series of Frescoes that we're going to go take a look at.발음듣기
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Dr. Zucker: As we walk past the second cloister on the left and the rectory, which includes a large fresco, a Ghirlandaio of the Last Supper.발음듣기
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We walk up the stairs, we pass numerous family crests of the Medici, reminds us that they were the dominant patrons of this convent.발음듣기
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Dr. Harris: About every ten or so feet, there's an opening with a small wooden door into a small cell that would've been a space for a monk to sleep, but also a place for prayer and meditation.발음듣기
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Dr. Zucker: It also allows us to see this fresco much more close up than we'd normally be able to in a large basilica environment.발음듣기
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Dr. Zucker: It's just a beautiful image, but it's also very spare and the spareness seems to really be fitting for this monastic space.발음듣기
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Dr. Harris: Right, and the actual loge or open porch way space that the Madonna and the angel Gabriel occupy seems to match the cloister that we were just in and the windows that we see around us we see in the room behind Mary.발음듣기
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It really feels as though Mary and the angel Gabriel are in a space very much like the one that the monks themselves inhabited, which must have helped them to think about this moment of the Annunciation.발음듣기
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What's interesting is in many paintings of the Annunciation, you would expect to see a lot of other kinds of accoutrements.발음듣기
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You would expect to see white lilies as a symbol of her virginity, you would expect to see her having been interrupted reading her bible, expressing her piousness and some art historians have suggested that some of these symbols are missing because the monks already know the story well.발음듣기
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This painting doesn't have to be as didactic as it might have to be if its audience was a lay audience in a church.발음듣기
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Dr. Harris: It gives room to the monks themselves to fill in the rest of the story for themselves and I think that's one way in which it was an aid in prayer.발음듣기
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It was so simple and so spare, not only this fresco, but the ones in the cells, too, that it would not interfere with the monks' own imaginings.발음듣기
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Dr. Zucker: There's two things that I think are worth pointing out, which is understanding this fresco within the context of these hallways on the second floor of the monastery.발음듣기
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For one thing, as we look down the hallway, we see doors that are too small for this space and there's a kind of interesting relationship between the receding doors and the receding orthogonals.발음듣기
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That we see down the hallway on the left and the loge of the columns on the left is leading to a doorway that is visually too small also.발음듣기
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The other thing is that the vanishing point seems too high and the floor seems to be too steep, but when you look at this fresco as you ascend the staircase, it makes more sense, you're seeing it at an extreme - Dr. Harris: From far below.발음듣기
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I think it's really important to understand this painting not in the isolation of a reproduction, but spatially in the context of San Marco.발음듣기
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Dr. Zucker: That raises another interesting issue here, which is there's real ambiguity in the space in this painting.발음듣기
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We've got that flatness on the left side, this insistence on the two-dimensionality of the forest, of the lawn.발음듣기
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There is some reference to linear perspective, but at the same time, the figures are much too large for the space.발음듣기
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Dr. Harris: Right, if Mary stands up she's going to hit her head on a ceiling. (laughing) For Masaccio, the space the scale of the figures would really have to be perfectly aligned.발음듣기
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For example, if we think about light, which is one of the things that was so important for Masaccio, just 20 years or less before this was painted, we do see light coming in from the left.발음듣기
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If you look at their halos, he's using those flat, round halos, like we saw in the 1300s and not those more shortened halos, that we see Masaccio use.발음듣기
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Dr. Zucker: That does seem to be a willful kind of historicizing in that sense, or a kind of not complete acceptance of the fully earthly rendering that is so prominent in Florence in the 15th century and especially at this moment.발음듣기
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Dr. Harris: It's almost totally aware of Masaccio and what we might call the most advanced humanist styles,발음듣기
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but also an unwillingness to go that far and holding to more conservative or traditional aspects in some ways and it does seem to totally make sense, given the monastic environment that we're in and also Fra Angelico's own spirituality.발음듣기
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Dr. Zucker: That kind of tension really speaks to these developing techniques as having a spiritual or even political dimension and that these were things that could be chosen.발음듣기
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Dr. Harris: There were lots of styles that were available in the 15th century in Florence, depending on a whole lot of things.발음듣기
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Dr. Zucker: There's also subtlety, for example, we were talking about the spareness of this painting.발음듣기
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There are areas where the artist allows himself to really create a very decorative set of forms.발음듣기
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Not only are they just beautifully detailed, but if you look really carefully, and this is something that doesn't come across in photographs, he must have used a kind of mica or some sort of mineral that really catches the light, because as you walk past this fresco, it picks up light and twinkles.발음듣기
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Dr. Zucker: The faces, although they're generalized, are very specific in certain ways, as well, especially around the eyes, which are actually the most detailed part of the entire painting.발음듣기
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Dr. Harris: You really feel, even though they're separated by this column, that they're gazes meet and are locked in place.발음듣기
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The way that Mary bends forward a bit and accepts her responsibility that Gabriel's announcing to her feels very, very serious to me.발음듣기
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On the wall opposite the doorway is a fresco by Fra Angelico of another Annunciation scene, this time even more spare.발음듣기
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Dr. Zucker: We have the archangel Gabriel, this time standing, Mary on a small stool, kneeling, although her body is so elongated, it's actually hard to tell where her knees would be, where the lower part of her body is.발음듣기
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Dr. Harris: And like all the other frescoes in the cells, Saint Dominic is included, although you can see he's very carefully put outside the space that Mary and the angel Gabriel occupy.발음듣기
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Dr. Zucker: Very much like we are as we gaze into this cell, so he's a witness, as we're a witness.발음듣기
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Dr. Harris: Exactly, he's, in a way, a kind of stand in for us, a way for us into the painting.발음듣기
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Dr. Zucker: I am struck by the way in which the architecture depicted within this smaller fresco is such a beautiful complement to the spare space that we're in.발음듣기
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This is something he would've gone to sleep with, he would've prayed with, he would've woken to, and that this was a single bit of ornament in this room.발음듣기
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The convent of San Marco is well-known, not only for the extraordinary frescoes by Fra Angelico, but also by another resident.발음듣기
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Dr. Harris: We're talking about Savonarola, who was a fervent religious leader in the late 1490s in Florence.발음듣기
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Dr. Zucker: He was actually the pryor of this convent, that is he was in charge and he was zealous about renouncing the luxuries of the mercantile culture that Florence had developed.발음듣기
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His religious beliefs became stronger and more radical and came into increasing conflict with the wealth and artistry of the city.발음듣기
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Dr. Harris: He denounced the humanist culture of Medici Florence and - Dr. Zucker: It's interesting, because Medici's were originally his sponsors, his patrons.발음듣기
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Dr. Zucker: This was called the Bonfire of the Vanities and it took place just outside of the Signoria, where we think paintings, books, and articles of luxury, including clothing, were burned.발음듣기
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Dr. Harris: There was a brief period when Savonarola actually took over the government of Florence.발음듣기
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Dr. Zucker: He was ultimately excommunicated by the Pope, but refused to abide by the excommunication, which put Florence in real jeopardy.발음듣기
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Dr. Harris: His advocacy of a really spare and ascetic lifestyle made things very difficult in Florence economically.발음듣기
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Dr. Harris: San Marco was stormed and - Dr. Zucker: And Savonarola was taken prisoner and would ultimately be hanged with two of his compatriots until he was almost dead, at which point a large fire was set below him and they were burned to death.발음듣기
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Dr. Harris: It's hard to remember those kinds of details sometimes when you walk through and you look at these lovely paintings to remember this as not just a place where tourists visit, but a place that a real role in Florence's history in the 15th century.발음듣기
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