Sunday, August 30, 2015

Nicola Pisano. Nativity, detail of Baptistery Pulpit panel: Annunciation, Nativity and Annunciation to Shepherds 1259-60 Italian Gothic,


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Nicola Pisano. Nativity, detail of Baptistery Pulpit panel: Annunciation, 
Nativity and Annunciation to Shepherds 1259-60 Italian Gothic,

Pheidias
Pediment of the Parthenon
Three Goddesses c438BCE
Greek Classic,

Form:  This is a relief carving.  The relief varies greatly in the height and or depth of each of the figures and objects.  In general the composition is fairly symmetrical yet it is very crowded and almost seems disorganized.  Most of the figures are placed in the foreground of the picture plane and the space created is not very illusionistic.  Space is created by placing the figures in the foreground lower in the picture plane.  In order to show the recession of space, the figures are layered and the placed in a vertical perspective.  The rendering of each of the figures is fairly naturalistic and the clothing, drapery and poses are somewhat reminiscent of carvings such as the this one from the Parthenon's pediment.  Several of the figures, such as the main one which depicts Mary and the child (Jesus) are repeated because several scenes are simultaneously being represented.  This kind of continuous narrative is common in Byzantine, Romanesque, Gothic and Renaissance art. 
Iconography:  This is a nativity scene that at first appears to take place in a manger but it also contains the baptism of Christ as well as the annunciation by the angel Gabriel.  The scenes are as follows, far left the angel Gabriel confronts Mary with his annunciation of the birth of Jesus. Mary pulls away towards the center of the scene.  In the upper right hand corner is a manger scene in which Jesus lies in his crib, at the far right are two of the wise men who are missing their heads.  The center of the scene Mary reclines in a pose very reminiscent of the Goddesses from Parthenon.  In the lower left foreground of the image is the baptism of Christ (note he's missing his head too.)
The next major difference is in the style and amount of artwork. In general, the Romanesque style is extremely organized, diagrammatic, and stylized. It tends to take cues from Byzantine art, in which the figures' relative size to another figure is based upon its' importance in the spiritual hierarchy. For example, when Jesus or an Angel is shown, they are relatively larger than all the other figures whom are depicted in a particular scene. This shows how important they are, they loom above the mere mortals, faithful and sinners alike. In contrast, the Gothic style of sculpture and art within a cathedral is very much a "schema and correction" of the Romanesque art. While the same themes and saints may be depicted, they are far more naturalistic, shown more or less in proportion often with detailed, flowing robes which harken back to the Greek ideals of art and beauty. For example, in Stokstad on pg. 594, is a depiction of Dormition of the Virgin from the Strasbourg cathedral in France. Jesus, the virgin, and all the followers are all equal in size and proportion, the only thing that shows Jesus as the most important figure is his place n the center and his halo, otherwise he blends in with the others. There also tends to be more of an emphasis on the stories of Jesus in the Gothic cathedrals, whereas the Romanesque cathedrals tended to emphasize not only Jesus, but biblical stories, morality stories, saints, parables, and virtues. Context:  The realism of her pose and drapery demonstrate the beginnings of the heightened realism that occurs during this period.  These classical references are both "classy" but also refer to the new ideas concerning a more humanistic approach towards interpreting scripture.  The naturalism relates more towards the viewer than ever before and it is possible to imagine the scene as something real.