Institute for Medieval Studies
IMC 2022 Session
|Title||Making Meaning through Religious Painting and Ecclesiastical Interiors|
|Date/Time||Monday 4 July 2022: 11.15-12.45|
|Organiser||IMC Programming Committee|
|Moderator/Chair||Livia Lupi, Department of the History of Art, University of Warwick|
|Paper 112-a||'The Times They Are a-Changing': An Examination of Giotto's Crucifix and Masaccio's Trinity in the Basilica of Santa Maria Novella, Florence
Linda Steele, Faculty of Arts & Social Sciences, Carleton University, Ottawa
Index Terms: Art History - Painting; Theology
|Paper 112-b||Cristo Vivo: Mimicking Christ's Living Body in Early Renaissance Sculpture
Mads Vedel Heilskov, Courtauld Institute of Art, University of London
Index Terms: Art History - Sculpture; Religious Life
Alfred Acres defines mundane/worldly time as the temporal passage of years or moments that are depicted on one plane of existence. It is a concrete narrative that occurs in a singular dimension. However, the discourse of Christian time is not as easily discerned and occurs on a multi-layered plane. By utilising the frameworks provided by St Augustine and others, I will examine Giotto's Crucifix and Masaccio's Trinity at the Basilica of Santa Maria Novella. I will investigate the uses of naturalism by artists that illustrate the concept of collapsing time within an image. Augustine's premise is that time, within Christian theology, exists on one plane, not on three. As with the Holy Trinity, time collapses into a singular being, with past, present, and future, for the purposes of Christian interpretation and theology, collapse into one existence.
In early renaissance Italy, the phenomenon of the manmade Christ in image or sculpture acquiring life was referred to as 'Cristo Vivo'. This phenomenon will be interrogated by analysing in depth the techniques applied by renaissance sculptors in order to replicate the human frame and so mimic the living body in form as well as function. It will first analyse the replication of interior and exterior anatomy, then move on to analyse the ways in which bodily functions were replicated. In that way, the coming to life of sculptures of the crucified Christ will be seen as a process of becoming via the application of a series of artistic and artisanal techniques.