國立虎尾科技大學 |

The Meanings of Duccio's Maesta : = Architecture, Painting, Politics, and the Construction of Narrative Time in the Trecento Altarpieces for Siena Cathedral.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	The Meanings of Duccio's Maesta :/
Reminder of title:	Architecture, Painting, Politics, and the Construction of Narrative Time in the Trecento Altarpieces for Siena Cathedral.
Author:	Conrad, Jessamyn Abigail Schafer.
Description:	1 online resource (515 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 77-09(E), Section: A.
Subject:	Art history. -
Online resource:	click for full text (PQDT)
ISBN:	9781339661223

The Meanings of Duccio's Maesta : = Architecture, Painting, Politics, and the Construction of Narrative Time in the Trecento Altarpieces for Siena Cathedral.
Conrad, Jessamyn Abigail Schafer.

The Meanings of Duccio's Maesta :Architecture, Painting, Politics, and the Construction of Narrative Time in the Trecento Altarpieces for Siena Cathedral. - 1 online resource (515 pages)

Source: Dissertation Abstracts International, Volume: 77-09(E), Section: A.

Thesis (Ph.D.)--Columbia University, 2016.

Includes bibliographical references

Duccio's Maesta, made between 1308 and 1311 for the high altar of Siena Cathedral, is one of the best-known works of medieval painting. Astoundingly complex, with dozens of individual fields and several narrative cycles, it measured around 15 feet or four meters square. It was, and long remained, the largest panel painting ever made. But why did its designers reach so far outside the bounds of normal altarpieces, and why did they stretch the media of panel painting to new heights? Replacing Duccio's Maesta within its original Trecento context demonstrates that the altarpiece cannot be explained by either earlier Cathedral images or by earlier Marian panel paintings made for monastic churches, whose imagery the Maesta appropriated but drastically expanded. Instead, the creation of Duccio's Maesta comes into clearer focus when understood in its original setting, the civic Cathedral. Santa Maria della Assunta comprised not just its particular physical space, but a political and economic one. Duccio's Maesta interacted with the specific, material building, especially the Cathedral's unique hexagonal crossing and its dense green-black and white stripes; both features may have contributed to a reading of the Maesta's central Virgin as a symbol for Ecclesia, occupying her own Temple of Solomon. But the Maesta also crucially served as the backdrop to the city's biggest annual holiday, the Feast of the Assumption. Though generally characterized by scholars as a unifying event, the Feast was in fact a means of social control, regulated by the state, where participation was enforced by law and on point of fine, and whose main event was the legally mandated presentation of candles to the Virgin in the Cathedral. Moreover, Duccio's high altarpiece was commissioned during a troubled period: threatened by plotting nobles, and having steered the city through a sensitive election for a new bishop, the Government of the Nine was increasingly intent on regulating the Assumption Feast and the Cathedral's commissioning body, the Opera del Duomo, which was largely funded through the wax donated on the Assumption. Confronted by unique pressures, Duccio and his unknown potential collaborators created unique solutions, contextualizing popular Marian imagery within the Cathedral's theological and political concerns through the use of elaborate narrative cycles. Faced with the puzzle of fitting an entire image program onto a panel painting, Duccio privileged a coherent spatial setting, drawn largely through carefully-depicted architecture, that allowed him to keep figure size constant and that therefore to create a smooth spatio-temporal reading of the altarpiece; his arragement of the narrative scenes allowed for new meanings and cross-readings; Duccio further used different perspectival constructions to direct the viewer's reading of the altarpiece. Duccio thus turned painting's limitation, its lack of time, into a strength, showing new ways in which images could be deployed to interpret narrative; he also spurred a long conversation among artists on the very nature of their medium and what, exactly, it could accomplish: Within 40 years, four altarpieces, occasioned again by architecture, were commissioned for the Cathedral's patronal altars. Located near to Duccio's high altarpiece, these altarpieces would reflect their artists' reception of Duccio's Maesta. These radical works by Simone Martini and Lippo Memmi, Pietro and Ambrogio Lorenzetti, and Bartolommeo Bulgarini include the first narrative altarpiece and probably the first painting to pretend it is a view through a window in Western art. Above all, the patronal altarpieces demonstrate an interest in narrative, played out in the depiction of time and an attendant depiction of commensurate pictorial space.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9781339661223Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

The Meanings of Duccio's Maesta : = Architecture, Painting, Politics, and the Construction of Narrative Time in the Trecento Altarpieces for Siena Cathedral.
LDR:05024ntm a2200313K 4500 001 913413
005 20180618095017.5
006 m o u
007 cr mn||||a|a||
008 190606s2016 xx obm 000 0 eng d
020 $a 9781339661223
035 $a (MiAaPQ)AAI10102314
035 $a (MiAaPQ)columbia:13270
035 $a AAI10102314
040 $a MiAaPQ $b eng $c MiAaPQ
100 1 $a Conrad, Jessamyn Abigail Schafer. $3 1186251
245 1 4 $a The Meanings of Duccio's Maesta : $b Architecture, Painting, Politics, and the Construction of Narrative Time in the Trecento Altarpieces for Siena Cathedral.
264 0 $c 2016
300 $a 1 online resource (515 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertation Abstracts International, Volume: 77-09(E), Section: A.
500 $a Adviser: Holger Klein.
502 $a Thesis (Ph.D.)--Columbia University, 2016.
504 $a Includes bibliographical references
520 $a Duccio's Maesta, made between 1308 and 1311 for the high altar of Siena Cathedral, is one of the best-known works of medieval painting. Astoundingly complex, with dozens of individual fields and several narrative cycles, it measured around 15 feet or four meters square. It was, and long remained, the largest panel painting ever made. But why did its designers reach so far outside the bounds of normal altarpieces, and why did they stretch the media of panel painting to new heights? Replacing Duccio's Maesta within its original Trecento context demonstrates that the altarpiece cannot be explained by either earlier Cathedral images or by earlier Marian panel paintings made for monastic churches, whose imagery the Maesta appropriated but drastically expanded. Instead, the creation of Duccio's Maesta comes into clearer focus when understood in its original setting, the civic Cathedral. Santa Maria della Assunta comprised not just its particular physical space, but a political and economic one. Duccio's Maesta interacted with the specific, material building, especially the Cathedral's unique hexagonal crossing and its dense green-black and white stripes; both features may have contributed to a reading of the Maesta's central Virgin as a symbol for Ecclesia, occupying her own Temple of Solomon. But the Maesta also crucially served as the backdrop to the city's biggest annual holiday, the Feast of the Assumption. Though generally characterized by scholars as a unifying event, the Feast was in fact a means of social control, regulated by the state, where participation was enforced by law and on point of fine, and whose main event was the legally mandated presentation of candles to the Virgin in the Cathedral. Moreover, Duccio's high altarpiece was commissioned during a troubled period: threatened by plotting nobles, and having steered the city through a sensitive election for a new bishop, the Government of the Nine was increasingly intent on regulating the Assumption Feast and the Cathedral's commissioning body, the Opera del Duomo, which was largely funded through the wax donated on the Assumption. Confronted by unique pressures, Duccio and his unknown potential collaborators created unique solutions, contextualizing popular Marian imagery within the Cathedral's theological and political concerns through the use of elaborate narrative cycles. Faced with the puzzle of fitting an entire image program onto a panel painting, Duccio privileged a coherent spatial setting, drawn largely through carefully-depicted architecture, that allowed him to keep figure size constant and that therefore to create a smooth spatio-temporal reading of the altarpiece; his arragement of the narrative scenes allowed for new meanings and cross-readings; Duccio further used different perspectival constructions to direct the viewer's reading of the altarpiece. Duccio thus turned painting's limitation, its lack of time, into a strength, showing new ways in which images could be deployed to interpret narrative; he also spurred a long conversation among artists on the very nature of their medium and what, exactly, it could accomplish: Within 40 years, four altarpieces, occasioned again by architecture, were commissioned for the Cathedral's patronal altars. Located near to Duccio's high altarpiece, these altarpieces would reflect their artists' reception of Duccio's Maesta. These radical works by Simone Martini and Lippo Memmi, Pietro and Ambrogio Lorenzetti, and Bartolommeo Bulgarini include the first narrative altarpiece and probably the first painting to pretend it is a view through a window in Western art. Above all, the patronal altarpieces demonstrate an interest in narrative, played out in the depiction of time and an attendant depiction of commensurate pictorial space.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Art history. $3 1180038
655 7 $a Electronic books. $2 local $3 554714
690 $a 0377
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Columbia University. $b Art History and Archaeology. $3 1186245
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10102314 $z click for full text (PQDT)