Veneziano, St. Lucy Altarpiece

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Veneziano, St. Lucy Altarpiece발음듣기

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(piano music) [Steven] We're in the Uffizi, looking at Domenico Veneziano's Saint Lucy Altarpiece.발음듣기

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This is an artist who's actually a Venetian, but this was made for a Florentine church.발음듣기

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Originally there were five small predella panels underneath.발음듣기

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[Beth] That are now in different museums.발음듣기

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One of the most interesting thing about this painting is it's a new type of altarpiece.발음듣기

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Usually an altarpiece would have an elaborate gold frame, with subsidiary figures in separate panels, but here the different saints occupy the same space as the Madonna, so we have less emphasis on elaborate gold frames and the carpentry and carving involved in those, and more emphasis on the figures and the believable space that they occupy.발음듣기

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[Steven] That's what I was going to say.발음듣기

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When I look at this, this is a remarkably occupiable space.발음듣기

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In other words, I feel like I could walk around without hitting my head on the architecture, which was so often the case in the previous century.발음듣기

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[Beth] If you think about Masaccio's Holy Trinity as the first really believable space created by the use of linear perspective, just twenty years before, this is in a way a much more complex space, and the greens and the rose colors and the white marble remind me of so much architecture that we've seen, like the Duomo here in Florence.발음듣기

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[Steven] It's true; there really is attention to the architectural space.발음듣기

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I'm really taken with the severely foreshortened tile on the floor, which is a tour de force expression of linear perspective, and saying, "Well, I can do far more than a straight line of tiles on this floor."발음듣기

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[Beth] Look at John the Baptist's feet.발음듣기

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So firmly on the ground; his foreshortened right foot; a cast shadow behind him, also the influence of Masaccio.발음듣기

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To me this is a bringing together of so much that Masaccio and Brunelleschi did in the 1420s and '30s.발음듣기

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[Steven] There's also a kind of specificity in the rendering of the figures.발음듣기

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Lucy, at the extreme right, is so beautiful, and in a perfect profile, almost as we would expect a Renaissance portrait.발음듣기

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The figure next to Lucy is Saint Zenobius, one of the few saints associated with Florence.발음듣기

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Christ is a real child here.발음듣기

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There is an understanding of the anatomy of an infant, with its babyfat and that large head, and there's a real sense of his mother's delicate touch.발음듣기

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Look at the way her finger just comes under his toe.발음듣기

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It's really just lovely, whereas John the Baptist, he looks tough.발음듣기

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It's so interesting to see these figures all in one space.발음듣기

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Think about the figures chronologically.발음듣기

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You have the Virgin Mary and Christ, who lived roughly fifteen-hundred years before this was painted, and Francis, who would have lived just a few hundred years before this was painted.발음듣기

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[Beth] Right; Domenico Veneziano is mixing saints up, from all different time periods, and bringing them together into this one space.발음듣기

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[Steven] And that's really the definition of the word that's often used for these kinds of paintings, which is sacra conversazione.발음듣기

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That is, to bring figures from different historical periods together into an altarpiece environment.발음듣기

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[Beth] And "sacra conversazione" means a sacred conversation." (piano music)발음듣기

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