Considering the origins of painting in Siena in relation to other cities in Tuscany (Pisa, Lucca, Florence) and foreign influences (Byzantium, French gothic style), this course will trace the creation of the well-known Sienese artistic culture between the second half of XIII and the first half of XIV century. The course will examine the main works by Duccio, Simone Martini and the Lorenzetti Brothers, who were among the great masters of this period not only in Siena but also throughout the entire medieval Italy. Duccio represents the last of the great Byzantine-influenced painters, grown under the guidance of Cimabue in Florence. Simone, who made his apprenticeship under Duccio’s aegis, is known for his elegant gothic style derived from the artists of the French courts and from the artists of Northern Europe working at the transept in the Assisi Basilica. Pietro and Ambrogio Lorenzetti’s innovative frescoes and altarpieces represent a local response to the perspective and spatial experiments of the Florentine artist Giotto. These three guidelines – Byzantine heritage, gothic elegance, and spatial realism – will influence the direction of painting style well into the following century.
Prerequisites:
None. Deep interest in art history, general background in Italian medieval history, and basic knowledge of Christian iconography are helpful.
Attendance policy:
Successful progress of the program depends on the full cooperation of both students and faculty members: regular attendance and active participation in class are essential parts of the learning process. Attendance at and participation in all class meetings and field-studies are required. More than TWO unjustified absences (that are not medically excused with a written certificate of the doctor or caused by serious sudden family and/or personal occurrences, as for example death of a family member) will result in a lowering of your grade.
Learning outcomes:
By the end of the course, students are able to:
• recognize the main Sienese painters and art techniques used between XIII and XIV century, understanding the importance of foreign influences (Byzantine style and French gothic elegance) and both historical and cultural relationship with other medieval cities (Florence, Lucca, Pisa).
• understand the importance of a new artistic style developed by the major Sienese painters and then exported and expanded in other major cities, such as Florence, as a base for the beginning of the XV renaissance art.
• develop practical perception and ability to analyze paintings of XIII and XIV century and improve skills to critically evaluate medieval Sienese works. Field studies will take students to see master works by the artists in the original context of the city (cathedral, museums and churches), having a unique opportunity to experience the works as their original viewers did and as their creators intended.
Method of presentation:
Lectures with books, slides, CD-Roms, use of multimedia and other visual materials. Guided visits to museums and churches in Siena.
Field study:
Cathedral “crypt” frescoes; cathedral interior; Museo dell’Opera del Duomo; Pinacoteca Nazionale di Siena (XIII-XIV century rooms); Palazzo Pubblico; Church of San Francesco; Church of Santa Maria dei Servi.
Required work and form of assessment:
Active participation and class discussions (15%); written mid-term exam (20%); research paper (30%); oral final exam (35%). Attendance is mandatory and punctual reading of assigned material is strongly recommended.
The written mid-term exam (in-class) will be based on the topics covered during the first half of the course and will be in the form of a short composition. Students will choose from a list of several essay questions.
The topic of personal research is to be chosen by students in consultation with the instructor: written article (about 5-7 pages) and short oral presentation to the class.
Oral final exam will be based on visual material (for example five images) that students will have to recognize and comment upon.
content:
Part I
1. The origins of Sienese painting in relation to other cities in Tuscany (Pisa, Lucca and Florence) between Romanesque and Byzantine culture. Analysis of forms and functions of panel painting in Siena between the XIII and XIV centuries. Readings: Schmidt, Victor M. “Tipologie e funzioni della pittura senese su tavola”, pp. 531-569.
2. The reception of Cimabuesque language in Siena; analysis of the rediscovered frescoes in the so- called “crypt” of Siena’s cathedral. Readings: Guerrini, Roberto and Max Seidel, Sotto il duomo di Siena. Scoperte archeologiche, architettoniche e figurative, part I. Field-study: Siena Cathedral “crypt” frescoes.
3. Duccio: biographical profile, documentary history and first known works, with particular attention to the ‘Rucellai’ Maestà (Florence, Uffizi). Readings: Bagnoli Alessandro, Roberto Bartalini, Luciano Bellosi and Laclotte Michel (eds.). Duccio. Alle origini della pittura senese, pp. 102-129.
4. Duccio’s relationship with Giotto and the Assisi context, with particular reference to the reflexes in the stained glass rose-window of the cathedral. Readings: Bagnoli, Alessandro and Camillo Tarozzi (eds.). Duccio. La vetrata del duomo di Siena e il suo restauro.
5. The maturity of Duccio’s painting. The ‘Maestà’ for the main altar of the cathedral (Siena, Museo dell’Opera del Duomo): history, patronage, iconography, style, function. Readings: Bagnoli
Alessandro, Roberto Bartalini, Luciano Bellosi and Laclotte Michel (eds.), Duccio. Alle origini della pittura senese, pp. 212-220. Field-study: Siena cathedral interior; Museo dell’Opera del Duomo.
Part II
6. Simone Martini and the ‘Bottega dei Memmi’: the origins of his style in relationship with the Assisi context. Reflections on the concept and meaning of the medieval ‘bottega’ (studio). The use of gold leaf and punch marks in the Memmi entourage. Readings: Bellosi, Luciano. Il pittore oltremontano di Assisi: il gotico a Siena e la formazione di Simone Martini, pp. 9-22.
7. A masterpiece of Simone Martini: the ‘Maestà’ in the Palazzo Pubblico of Siena; history, patronage, iconography, style. Comparison between Duccio’s ‘Maestà’ (Siena, Museo dell’Opera del Duomo) and Lippo Memmi’s ‘Maestà’ (San Gimignano, Palazzo Pubblico). Readings: Bagnoli, Alessandro. La Maestà di Simone Martini, pp. 19-95. Field-study: Siena: Palazzo Pubblico.
8. Other works by Simone Martini: the frescoes at Assisi, the ‘San Ludovico d’Angiò’ panel (Naples, Capodimonte), the ‘Beato Agostino Novello’ panel (Siena, Pinacoteca Nazionale). Open questions: the ‘Guidoriccio da Fogliano’ and the ‘Giuncarico’ frescoes in Palazzo Pubblico of Siena and their attributions. The ‘Annunciation of the Virgin’ by Simone Martini (Florence, Uffizi): history, patronage, iconography, style. The last activity in Avignon and some lost works by Simone (the ‘Virgin of
Humility’ iconography origin). Readings: Bagnoli, Alessandro and Luciano Bellosi (eds.). Simone Martini e “chompagni”, pp. 11-30. Field-study: Pinacoteca Nazionale di Siena (XIII-XIV century rooms).
Part III
9. Pietro and Ambrogio Lorenzetti: biographical details and activity between Florence, Siena, Arezzo, Assisi, Massa Marittima and Cortona; the relationship with Giottesque style. Analysis of some of their works: Pietro’s frescoes in Assisi and Ambrogio’s frescoes in the churches of San Francesco and Santa Maria dei Servi in Siena. Readings: Monciatti, Alessio, Chiara Frugoni and Maria Monica Donato. Pietro e Ambrogio Lorenzetti, pp. 203-209. Field-study: Church of San Francesco, Church of Santa Maria dei Servi in Siena.
10. Pietro Lorenzetti: analysis of the ‘Nativity of the Virgin’ panel (Siena, Museo dell’Opera del Duomo)
- between symbolism and realism. Its influence on later ‘Nativity’ paintings in Siena. Reflections on the iconographical program of the Middle Age altars in Siena’s cathedral. Readings: Butzek, Monika, “Le pale di Sant’Ansano e degli altri protettori della città nel duomo di Siena. Una storia documentaria,” in Simone Martini e l’Annunciazione degli Uffizi, pp.35-59.
11. Ambrogio Lorenzetti: the fresco cycle at Palazzo Pubblico of Siena - the allegory of the ‘Buon Governo’, ‘Cattivo Governo’ and their effects on the city and the country - a political manifesto of the medieval Commune ideology. Readings: Monciatti, Alessio, Chiara Frugoni and Maria Monica Donato. Pietro e Ambrogio Lorenzetti, pp. 210-249. Field-study: Siena: Palazzo Pubblico.
Required readings:
Course Pocket (including selection from):
- Bagnoli Alessandro, Roberto Bartalini, Luciano Bellosi and Laclotte Michel (eds.), Duccio. Alle origini della pittura senese. Exhibition catalogue (Siena 2003-2004). Milano, Silvana Editoriale, 2003 (excerpts from; Part I).
-Bagnoli, Alessandro, La Maestà di Simone Martini, Cinisello Balsamo (Milano), Silvana Editoriale, 1999 (Part II).
-Bagnoli Alessandro and Luciano Bellosi (eds.), Simone Martini e “chompagni”, exhibition catalogue (Siena 1985), Firenze, Centro Di, 1985 (excerpts from; Part II).
- Bagnoli Alessandro and Camillo Tarozzi (eds.), Duccio. La vetrata del duomo di Siena e il suo restauro, Milano, Silvana Editoriale, 2003 (Part I).
- Bellosi Luciano. Il pittore oltremontano di Assisi: il gotico a Siena e la formazione di Simone Martini. Ed. Roberto Bartalini, Roma, Gangemi Editore, 2004 (Part II).
- Butzek, Monika “Le pale di Sant’Ansano e degli altri protettori della città nel duomo di Siena. Una storia documentaria,” in Simone Martini e l’Annunciazione degli Uffizi, Ed. A. Cecchi. Cinisello Balsamo (Milano), Silvana Editoriale, 2001, pp. 35-59 (Part II).
- Guerrini Roberto and Max Seidel (eds.), Sotto il duomo di Siena. Scoperte archeologiche, architettoniche e figurative, Cinisello Balsamo (Milano), Silvana Editoriale, 2003 (excerpts from Part I).
- Monciatti Alessio, Chiara Frugoni and Maria Monica Donato, Pietro e Ambrogio Lorenzetti, (ed.) Chiara Frugoni. Firenze, Le Lettere, 2002 (excerpts from; Part III).
- Schmidt Victor M. “Tipologie e funzioni della pittura senese su tavola,” in Duccio. Siena fra tradizione bizantina e mondo gotico, (eds.) Bagnoli, Alessandro, Roberto Bartalini, Luciano Bellosi and Michel Laclotte. Milano: Silvana Editoriale (Banca Monte dei Paschi di Siena limited edition), 2003, pp. 531-569 (Part II).
NOTE: Supplementary material to complement class work will be given in class in order to improve comprehension.
Brief Biography of Instructor:
Sara Pizziconi earned a MA, with Honours, in Medieval and Renaissance Studies, specializing in Art History from the University of Siena. She is a lecturer and a consultant in several academic conferences, events, seminars, congresses, exhibitions on Medieval and Renaissance ages, published articles for University department on the cultural and social issues of late medieval art, focusing on architectural elements of the fortification of XV century Tuscany. Her current research focuses on gender studies in Medieval and Renaissance society and culture and the role of women in Renaissance.
Duccio, Simone Martini & The Lorenzetti Brothers (Italian-Taught)
Considering the origins of painting in Siena in relation to other cities in Tuscany (Pisa, Lucca, Florence) and foreign influences (Byzantium, French gothic style), this course will trace the creation of the well-known Sienese artistic culture between the second half of XIII and the first half of XIV century. The course will examine the main works by Duccio, Simone Martini and the Lorenzetti Brothers, who were among the great masters of this period not only in Siena but also throughout the entire medieval Italy. Duccio represents the last of the great Byzantine-influenced painters, grown under the guidance of Cimabue in Florence. Simone, who made his apprenticeship under Duccio’s aegis, is known for his elegant gothic style derived from the artists of the French courts and from the artists of Northern Europe working at the transept in the Assisi Basilica. Pietro and Ambrogio Lorenzetti’s innovative frescoes and altarpieces represent a local response to the perspective and spatial experiments of the Florentine artist Giotto. These three guidelines – Byzantine heritage, gothic elegance, and spatial realism – will influence the direction of painting style well into the following century.
None. Deep interest in art history, general background in Italian medieval history, and basic knowledge of Christian iconography are helpful.
Successful progress of the program depends on the full cooperation of both students and faculty members: regular attendance and active participation in class are essential parts of the learning process. Attendance at and participation in all class meetings and field-studies are required. More than TWO unjustified absences (that are not medically excused with a written certificate of the doctor or caused by serious sudden family and/or personal occurrences, as for example death of a family member) will result in a lowering of your grade.
By the end of the course, students are able to:
• recognize the main Sienese painters and art techniques used between XIII and XIV century, understanding the importance of foreign influences (Byzantine style and French gothic elegance) and both historical and cultural relationship with other medieval cities (Florence, Lucca, Pisa).
• understand the importance of a new artistic style developed by the major Sienese painters and then exported and expanded in other major cities, such as Florence, as a base for the beginning of the XV renaissance art.
• develop practical perception and ability to analyze paintings of XIII and XIV century and improve skills to critically evaluate medieval Sienese works. Field studies will take students to see master works by the artists in the original context of the city (cathedral, museums and churches), having a unique opportunity to experience the works as their original viewers did and as their creators intended.
Lectures with books, slides, CD-Roms, use of multimedia and other visual materials. Guided visits to museums and churches in Siena.
Cathedral “crypt” frescoes; cathedral interior; Museo dell’Opera del Duomo; Pinacoteca Nazionale di Siena (XIII-XIV century rooms); Palazzo Pubblico; Church of San Francesco; Church of Santa Maria dei Servi.
Active participation and class discussions (15%); written mid-term exam (20%); research paper (30%); oral final exam (35%). Attendance is mandatory and punctual reading of assigned material is strongly recommended.
The written mid-term exam (in-class) will be based on the topics covered during the first half of the course and will be in the form of a short composition. Students will choose from a list of several essay questions.
The topic of personal research is to be chosen by students in consultation with the instructor: written article (about 5-7 pages) and short oral presentation to the class.
Oral final exam will be based on visual material (for example five images) that students will have to recognize and comment upon.
Part I
1. The origins of Sienese painting in relation to other cities in Tuscany (Pisa, Lucca and Florence) between Romanesque and Byzantine culture. Analysis of forms and functions of panel painting in Siena between the XIII and XIV centuries. Readings: Schmidt, Victor M. “Tipologie e funzioni della pittura senese su tavola”, pp. 531-569.
2. The reception of Cimabuesque language in Siena; analysis of the rediscovered frescoes in the so- called “crypt” of Siena’s cathedral. Readings: Guerrini, Roberto and Max Seidel, Sotto il duomo di Siena. Scoperte archeologiche, architettoniche e figurative, part I. Field-study: Siena Cathedral “crypt” frescoes.
3. Duccio: biographical profile, documentary history and first known works, with particular attention to the ‘Rucellai’ Maestà (Florence, Uffizi). Readings: Bagnoli Alessandro, Roberto Bartalini, Luciano Bellosi and Laclotte Michel (eds.). Duccio. Alle origini della pittura senese, pp. 102-129.
4. Duccio’s relationship with Giotto and the Assisi context, with particular reference to the reflexes in the stained glass rose-window of the cathedral. Readings: Bagnoli, Alessandro and Camillo Tarozzi (eds.). Duccio. La vetrata del duomo di Siena e il suo restauro.
5. The maturity of Duccio’s painting. The ‘Maestà’ for the main altar of the cathedral (Siena, Museo dell’Opera del Duomo): history, patronage, iconography, style, function. Readings: Bagnoli
Alessandro, Roberto Bartalini, Luciano Bellosi and Laclotte Michel (eds.), Duccio. Alle origini della pittura senese, pp. 212-220. Field-study: Siena cathedral interior; Museo dell’Opera del Duomo.
Part II
6. Simone Martini and the ‘Bottega dei Memmi’: the origins of his style in relationship with the Assisi context. Reflections on the concept and meaning of the medieval ‘bottega’ (studio). The use of gold leaf and punch marks in the Memmi entourage. Readings: Bellosi, Luciano. Il pittore oltremontano di Assisi: il gotico a Siena e la formazione di Simone Martini, pp. 9-22.
7. A masterpiece of Simone Martini: the ‘Maestà’ in the Palazzo Pubblico of Siena; history, patronage, iconography, style. Comparison between Duccio’s ‘Maestà’ (Siena, Museo dell’Opera del Duomo) and Lippo Memmi’s ‘Maestà’ (San Gimignano, Palazzo Pubblico). Readings: Bagnoli, Alessandro. La Maestà di Simone Martini, pp. 19-95. Field-study: Siena: Palazzo Pubblico.
8. Other works by Simone Martini: the frescoes at Assisi, the ‘San Ludovico d’Angiò’ panel (Naples, Capodimonte), the ‘Beato Agostino Novello’ panel (Siena, Pinacoteca Nazionale). Open questions: the ‘Guidoriccio da Fogliano’ and the ‘Giuncarico’ frescoes in Palazzo Pubblico of Siena and their attributions. The ‘Annunciation of the Virgin’ by Simone Martini (Florence, Uffizi): history, patronage, iconography, style. The last activity in Avignon and some lost works by Simone (the ‘Virgin of
Humility’ iconography origin). Readings: Bagnoli, Alessandro and Luciano Bellosi (eds.). Simone Martini e “chompagni”, pp. 11-30. Field-study: Pinacoteca Nazionale di Siena (XIII-XIV century rooms).
Part III
9. Pietro and Ambrogio Lorenzetti: biographical details and activity between Florence, Siena, Arezzo, Assisi, Massa Marittima and Cortona; the relationship with Giottesque style. Analysis of some of their works: Pietro’s frescoes in Assisi and Ambrogio’s frescoes in the churches of San Francesco and Santa Maria dei Servi in Siena. Readings: Monciatti, Alessio, Chiara Frugoni and Maria Monica Donato. Pietro e Ambrogio Lorenzetti, pp. 203-209. Field-study: Church of San Francesco, Church of Santa Maria dei Servi in Siena.
10. Pietro Lorenzetti: analysis of the ‘Nativity of the Virgin’ panel (Siena, Museo dell’Opera del Duomo)
- between symbolism and realism. Its influence on later ‘Nativity’ paintings in Siena. Reflections on the iconographical program of the Middle Age altars in Siena’s cathedral. Readings: Butzek, Monika, “Le pale di Sant’Ansano e degli altri protettori della città nel duomo di Siena. Una storia documentaria,” in Simone Martini e l’Annunciazione degli Uffizi, pp.35-59.
11. Ambrogio Lorenzetti: the fresco cycle at Palazzo Pubblico of Siena - the allegory of the ‘Buon Governo’, ‘Cattivo Governo’ and their effects on the city and the country - a political manifesto of the medieval Commune ideology. Readings: Monciatti, Alessio, Chiara Frugoni and Maria Monica Donato. Pietro e Ambrogio Lorenzetti, pp. 210-249. Field-study: Siena: Palazzo Pubblico.
Course Pocket (including selection from):
- Bagnoli Alessandro, Roberto Bartalini, Luciano Bellosi and Laclotte Michel (eds.), Duccio. Alle origini della pittura senese. Exhibition catalogue (Siena 2003-2004). Milano, Silvana Editoriale, 2003 (excerpts from; Part I).
-Bagnoli, Alessandro, La Maestà di Simone Martini, Cinisello Balsamo (Milano), Silvana Editoriale, 1999 (Part II).
-Bagnoli Alessandro and Luciano Bellosi (eds.), Simone Martini e “chompagni”, exhibition catalogue (Siena 1985), Firenze, Centro Di, 1985 (excerpts from; Part II).
- Bagnoli Alessandro and Camillo Tarozzi (eds.), Duccio. La vetrata del duomo di Siena e il suo restauro, Milano, Silvana Editoriale, 2003 (Part I).
- Bellosi Luciano. Il pittore oltremontano di Assisi: il gotico a Siena e la formazione di Simone Martini. Ed. Roberto Bartalini, Roma, Gangemi Editore, 2004 (Part II).
- Butzek, Monika “Le pale di Sant’Ansano e degli altri protettori della città nel duomo di Siena. Una storia documentaria,” in Simone Martini e l’Annunciazione degli Uffizi, Ed. A. Cecchi. Cinisello Balsamo (Milano), Silvana Editoriale, 2001, pp. 35-59 (Part II).
- Guerrini Roberto and Max Seidel (eds.), Sotto il duomo di Siena. Scoperte archeologiche, architettoniche e figurative, Cinisello Balsamo (Milano), Silvana Editoriale, 2003 (excerpts from Part I).
- Monciatti Alessio, Chiara Frugoni and Maria Monica Donato, Pietro e Ambrogio Lorenzetti, (ed.) Chiara Frugoni. Firenze, Le Lettere, 2002 (excerpts from; Part III).
- Schmidt Victor M. “Tipologie e funzioni della pittura senese su tavola,” in Duccio. Siena fra tradizione bizantina e mondo gotico, (eds.) Bagnoli, Alessandro, Roberto Bartalini, Luciano Bellosi and Michel Laclotte. Milano: Silvana Editoriale (Banca Monte dei Paschi di Siena limited edition), 2003, pp. 531-569 (Part II).
NOTE: Supplementary material to complement class work will be given in class in order to improve comprehension.
Sara Pizziconi earned a MA, with Honours, in Medieval and Renaissance Studies, specializing in Art History from the University of Siena. She is a lecturer and a consultant in several academic conferences, events, seminars, congresses, exhibitions on Medieval and Renaissance ages, published articles for University department on the cultural and social issues of late medieval art, focusing on architectural elements of the fortification of XV century Tuscany. Her current research focuses on gender studies in Medieval and Renaissance society and culture and the role of women in Renaissance.