美国西雅图代写网课:卢比圣墓教堂的装饰

2019-02-08 14:15

然而，在帕多瓦，很难找到很多证据来证明在本世纪下半叶拒绝艺术风格中的“现实主义”。阿尔蒂奇罗对卢比圣墓教堂的装饰，并没有试图让观者感到距离太远，而是利用空间和形式来吸引观者。他使用的景观让我们想起Lorenzetti显然是受乔托和他的人物,尤其是女性十字架的脚附近聚集,拥抱的方式让人想起Joachim和安娜和天使的物质和表达我们看到在竞技场礼拜堂。这幅壁画的规模、比例和设计表明，这一场景正在教堂的墙外上演，而我们仿佛是通过一个凉廊的拱门来观看它。色彩和谐柔和，给人一种贴近现实的感觉。阿尔蒂奇罗的风格比早期作品更加成熟和细致，但其潜在的意图和精神在很大程度上要归功于他14世纪早期的遗产。在锡耶纳，我们还发现对世纪中叶发生的变化有更多相互矛盾的解释。亨克·范·奥斯(Henk Van Os)描述了黑死病之后的社会动荡如何导致资助发生深刻变化:富有的精英阶层失去了很大一部分政治权力，涌现出一批对艺术委托不那么感兴趣的暴发户。许多艺术变得模仿性和保守，更多的是在锡耶纳周边的省份被委托。在城市本身,只有富人的身体Ospedale圣玛丽亚德拉Scala,收到了很多遗产从黑死病的受害者,继续调试新圣坛雕刻,其中之一,由Bartolommeo Bulgarini,包括假设的处女,一幅范Os认为展示“非常完整,不朽的人物,完全的传统Pietro Lorenzetti”(Van Os、1981、245)。他认为，这幅画并没有表现出梅斯所认为的那种扁平、层次感和神秘的设计，而是采用了这种假设的“塑性现实主义版本”的形式，因此符合早期锡耶纳绘画的传统(Van Os, 1981, 245)。当然，处子之身的处理和精心制作的黄金效果的使用反映了由杜西奥和西蒙·马提尼建立的锡耶纳工艺。范·奥斯的结论是，黑死病后艺术创作的变化主要是由于赞助地点的不同，而不是宗教思想的变化。
美国西雅图代写网课:卢比圣墓教堂的装饰
However, in Padua it is difficult to discover much evidence for the rejection of ‘realism’ in artistic style during the second part of the century. Altichiero’s decoration of Lupi’s funerary chapel in the Santo, far from attempting to distance the viewer, uses space and form to draw the spectator in. His use of landscape reminds us of Lorenzetti and his figures are clearly inspired by Giotto, especially the women who gather near the foot of the cross and embrace in a manner reminiscent of Joachim and Anna and the angels who have the substance and expression of those we see in the Arena Chapel. The scale, proportion and design of this fresco suggest that this scene is being played out just beyond the walls of the church and that we are viewing it as though through the arches of a loggia. The colours are harmonious and subdued and there is an impression of nearness and reality. Altichiero’s style is more developed and detailed than earlier works, but its underlying intent and spirit owes much to his legacy from the earlier fourteenth century.In Siena we also find more contradictory interpretations of the changes that occurred in the mid-century. Henk Van Os has described the way in which social upheavals following the Black Death led to profound changes in patronage: the wealthy elite lost much of their political power and a class of nouveau riche sprang up who had less interest in artistic commissioning. Much of the art became imitative and conservative and was more often commissioned in the provinces surrounding Siena. In the city itself, only the wealthy body of the Ospedale of Santa Maria della Scala, which had received many bequests from victims of the Black Death, continued commissioning new altarpieces, one of which, by Bartolommeo Bulgarini, included the Assumption of the Virgin, a painting which Van Os believes to exhibit “very full, monumental figures, entirely in the tradition of Pietro Lorenzetti” (Van Os, 1981, 245). He argues that this painting does not show signs of the flat, hierarchical, mystical design which Meiss attributed to it, but that it takes the form of a “plastically realistic version” of the Assumption and so stands within the earlier traditions of Sienese painting (Van Os, 1981, 245). Certainly, the treatment of the Virgin and the use of elaborate gold effects reflect the Sienese craftsmanship established by Duccio and Simone Martini. Van Os concludes that changes in artistic production after the Black Death were principally due to different sites of patronage rather than changes in religious thought .