Assisi, Church of S. Francesco / St. Francis
Giotto, Upper Church (left)
Master of S. Francis, Lower Church (right)
Giotto, Christmas in the Church at Greccio, Assisi, S. Francesco, Upper
2016/7/19
Pompeji, Villa dei Misteri, frecoes (1st. Cent. AD)
2016/7/19
Roman Mosaic, Piazza Armerina (Sicily), 4th. Cent AD
2016/7/19
Rome, S. Prassede (apsis), Triumphant Christ, mosaic 6th Cent.
TONGJI LECTURE Art History Prof. Dr. Norberto Gramaccini
23. 10. 15
CHANGE Dialogue Patronage Competition Scienticity Reality Historicity
a) THEORY Philosophy Science History Theology Art History
Ambrogio Lorenzetti, Bad Government, Sala dei Nove, Siena
Am,brogio Lorenzetti, The Effects of Bad Govenment (the coubntryside)
Padua, Oratorio di S. Giorgio, frescoes by Altichiero ca. 1380
Castle of Louis XIV. at Versaillres (François Mansart), 1668
Gian Lorenzo Bernini, Study for Equestrian Statue of Louis XIV, 1669, Bassano del Grappa, Museo Civico Gian Lorenzo Berrnini, Model for the Equestrian Statue of Louis XIV, 1669, Rome, Palazzo Borghese
Altchiero, Padua, St. George (ca. 1380) Masaccio, Holy Trinity (1427), Florence, S. Maria Novella
Raphael, School of Athens (1510), Stanza della Segnatura, Rome (Vatican)
Altichiero, S. Lucia Carried to a Brothel, S. Lucia Burnt Alive, Burial of S. Lucia, Padua, Oratorio di S. Giorgio (ca. 1380)
Book III. 51. "I wish that the painter be expert, as far as possible, in all liberal arts, but above all I desire in him the knowledge of geometry. I certainly agree with Pamphilus, a very ancient and very famous painter, from whom the young nobles learnt painting for the first time [PLIN, XXXV, 76-7]. His opinion, in fact, was that no one by ignoring geometry would have been a good painter. 53. Furthermore, it will not be useless if they [the painters] will find pleasure very near the poets and orators; in fact, these certainly have many qualities in common with the painter."
Cefalu (Sicily), Catehdral (apsis), Christ, mosaic (late 11th Cent.)
Mosaics in San Marco, Venice (12th/13th Cents.)
Wall Paintings (secco) in St. Genest, Lavardin (France), around 1100
2016/7/19
Donatello, David, ca. 1430, Florence, Bargello
Thornpricker, 3rd. Cent. BCE, Rome, Capitoline Museum
Donatello. Monument of Gattamelata, 1455, Padua
Without fear shall everyone walk The fruits of labor shall everyone enjoy While the Comune / Will maintain this lady in power Who has distributed the property equally
Equestrian Statue of the Rom,an Emperor Marcus Aurelius (121-180 AD), 424cm, ca. 176 AD, Rome, Capitoline Museum
Thornpricker, 3rd. Cent. BC, 76cm, Rome, Capitoline Hill, Palazzo dei Conservatori
Plinius Secundus (23-79 AD), Naturalis Historia Vergil 70-19 BC Cicero (107-43 BC)
Zeus Artemision (470 BC), Athens, National Archeological Museum
Riace Bronzes (ca. 450 BC), Reggio Calabria, National Museum of Magna Grecia
Siena, Palazzo della, Council Hall (Sala dei Nove), frescoes by Ambrogio Lorenzetti (1348)
Ambrogio Lorenzetti, Effects of Good Government, Siena, Sala dei Nove
Julius Cesar (100-44 BC)
Augustus Octavian (63 BC-19 AD)
Seneca (4BC-65AD)
Capitoline She-Wolf (75cm high, 114 cm large), 5th Cent. BC, Rome, Musei Capitolini
b) PRACTICE Bronze Casting Fresco Painting
2016/7/19
Bronze Casting
Wax clay bronze (copper, tin, lead)
Quality of Bronze A.More durable and difficult to treat than any other material B.Symbol of Eternity and of the Roman Empire C.Attribute of the Gods
Rome, Papal Palace and Church of S.Ghiovanni in Laterano
Hildesheim, Bronze Door, 1120 construction of wax-model rocess of castinga
Gozbertus (monk), Incense Burner, ca. 1100, Trier, Cathedral (Treasure)b Theophilus, Schedula (ca. 1120)urner, (ca. 1100) Trier,
Paris, Louvre, Pyramid, Ieoh Ming Pei (1998)
François Girardon, Louis XIV (reduced bronze version), 1700, Paris, Louvre
PRACTICE
b) Fresco Painting
2016/7/19
Leonardo BRUNI, Oratio (1428), cf. Hans Baron, The Crisis of the Early Renaissance [1955], Princeton 1966, 556-7. "Freedom is equal to anybody; all citizens have the same chance to obtain official honours and progress, if only they are industrious, if they possess natural gifts and lead an earnest and honest life. Because our state wants his citizens to be virtuous and stable. Whoever possesses these gifts, will be regarded as being noble enough, to participate in the government of the Florentine Republic. This then is true liberty, namely that all men are equal, and that they don't have to be afraid of anybody's might or badness, but enjoy their being equal among the other citizens, in front of the law and in obtaining public offices. And indeed: It is wonderful to see, how this possibility to participate in public offices, once it has been conceded to free men, manifests itself in the awakening of their faculties. Because where there is hope to obtain public honours, there people take courage and give their best. But where they have no chance, there become vain and loose their faculties. Therefore, since our state offers perspectives and chances to everybody, we will not be surprised to see all kind of virtues being developped to the highest degree."