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7
3. The man's separation from God is shown as a tragedy.
a. Tribute Money
b. Expulsion from Eden
c. Madonna and Child Enthroned
V. Translate the text into English.
Мазаччо, выдающийся флорентийский художник, решил проблемы живописи,
поставленные Джотто. В главных сценах росписи в капелле Бранкаччи - "Чудо со статиром"
и "Изгнание из Рая" Мазаччо показал как помещать фигуры в пространстве. В "Изгнании из
Рая" мощное тело Адама сотрясается от рыданий, в приступе вины и горя он от стыда закрыл
лицо руками; Ева рыдает, запрокинув в отчаянии голову. В сцене "Чудо со статиром"
Мазаччо объединил три сюжета: Христос с учениками у ворот, которых остановил сборщик
налогов, - центральная композиция; Петр, по велению Христа забросивший невод, - компо-
зиция слева; сцена выплаты подати - справа. Сцены, соединенные на одной плоскости,
написаны с учетом линейной и воздушной перспективы (linear perspective and aerial
perspective). В отличие от Джотто, который уводит взгляд зрителя только на несколько шагов
вглубь картины, Мазаччо образует глубинное пространство, проводя взгляд зрителя над
берегами Моря Галилейского, полузасохшими деревьями, к хребту далеких гор, и, наконец, к
небу. Благодаря фрескам Мазаччо церковь Санта Мария дель Кармине превратилась в
своеобразную академию, где учились многие художники.
VI. Summarize the text.
VII. Topics for discussion.
1. Masaccio's artistic heritage.
2. Masaccio's impact on art development.
UNIT III MANTEGNA (1431-1506)
Andrea Mantegna was the first major north Italian artist to experience the full force of the
Florentine Renaissance. In 1454, the year of Donatello's departure from Padua, Mantegna began,
with several older artists, a series of frescoes in the Chapel of the Overati family in Padua. He
finished the frescoes himself in 1457 when he was twenty six years old.
The air-raid on March 11, 1944 completely destroyed the chapel containing Mantegna's early
works. Only two of the frescoed panels on the lower part of the right wall were saved the
Martyrdom and the Burial of St. Christopher, and the Assumption in the apse. Almost all the colour
is gone from the two frescoes the Martyrdom and the Burial of St. Christopher, but one can still
detect the novelty of the background perspective. In the middle of the cove of the apse, the Virgin
Mary disappears behind a high archway lifted up towards the sky in all her physical presence. We
follow her as she rises slowly along with the Apostles who stand below against the sides of the arch.
The upturned face seen from below with the eyes raised is extremely beautiful.
The few small fragments of the Martyrdom of St. James (1454-56) collected from the pile of
ruins and put together in a photomontage have been placed on the left wall. The photo-montage of
the Martyrdom of St. James demonstrates the high level of perfection achieved by the young
Mantegna in rendering the three-dimensional illusion.
Saint James Led to Execution is a triumph of Renaissance spatial construction and Renaissance
Classicism. The perspective is calculated for the eye level of a person of average height standing on
the floor below. The effect of figures moving in an actual space is startling. The ground disappears
and the figures recede. Within Mantegna's carefully constructed space, the figures look like
animated statues, carved rather than painted. But their marmoreal hardness only intensifies the
drama. James on the way to martyrdom, turns to bless a kneeling Christian who has broken through
the Roman guards. The movements of the figures, the gentleness of the saint, and the emotion of the
moment are as severely controlled as the perspective.
In 1474 Mantegna finished the frescoes for the castle of the Gonzaga family, marquises of the
principality of Mantua. The Gonzaga frescoes are continuous around two sides and over the vaulted
ceiling of a square chamber. They present scenes from contemporary court life. The frescoes have