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Hal Feawetso Tanna) or Boon Burnnaccol?s PnP Sam hc now Moda sed Cid rele, Bemado Me as mo poplar of oti abla datcate mane peents of pete devotion. Flaked by 2 hm angen ed wih nest he an isin ound ath wth scoped cu ae Ente hi lal souches his mother’s ace, The area amerent provides anions stage for theimaes: aaa ngancnmnie of whites, pinting and scp t0 Sees othe Vn Mary. Ti abemae ass to the seresty of Frenne ast fc Giosto as they ole the ‘Sau pts ges his orignal inition. The ides that ‘pine! moment inthe 1h tary ee humanism, direct ob- + concer with the solidity of forms, and the in tere inllusion—became prominent in the following centuries. Pisa and Venice 1340s. Concern with death was significant theme in art even be fore the onset of the plague and became more prominent in th years afer mid-century DEALING WITH DEATH Trivinph of Death (FIG 4 ur deo of deat imagery. The creator of his ne sae rr 18 X 49 feet) fresco remains disputed: some attribute the work to Frascesco Taint others argue for ByowaMtco Busratsiacce (active 1320. 153+ Painted onthe wall of the Camposant hy miposanto (“hay Sel”), the enclo busi pound aan othe isa Cathedel the Gone nee thehorrors of eth nd ores view abeiee Inthele foreground, young aisacrate sounding cavalcade, encounter three coffin-en encased corpses in differing, 422° Chapter 14 gra-Ceosruny rainy Arr af Death 130s, Fresco 18” 6" 49" 2. Camposant, Pisa stage of decomposition. Aste hoeor ofthe onfontation ih sae es cctne the ais tur away wit dlc and lad sil german ols hs nose (he animals hosesand dae ace). At the Tf the hermit Sine Maca oon sll whoxe inscription speaks of the fll of plesue aor ee abiany of death, In contrast wih this mount an seins tho have comet terms with their mort ess see yin thebackgound of the fresco On the fight di Pe entemen ignore dreadful edits, occupying themes are eee grove vith music and amusements whl ll round ther an heaped in the mid foreground re det and straightforward as these scenes seem mote sie smesage te sha embedded inthe imagery For ample ia Traoroh of Death wh appeat unprepared for death and this Tly tose cation ater death are depicted as wealthy and ree ing luxry Given that the Dominicans silt povry—paricpte inthe design for ths fesco progam thisimagery srly was intended o warm against eed and ht Although Trinh of Death consists ofa comiation of i porate scenes, the ats rendered each scene with atuaism and Grew both sei and the world into eer sharper visual foci perceived ever more cay that corporeal things ae perth ‘and demons struggle for the souls of the corpses an order committed ConcLusION In the carly 14th century, people began to manifest growing ie terest in the natural world, Accordingly artists such 25 GH and Duccio, for example, began to abandon some of the co¥e tions of medieval art and increasingly based thei artwooks & thei workdly observations, sulting tna greater natural art. Greater ilusionism, more emphatic pictorial solidity a ‘patal depth and stronger emotional demonstrations Gomi Picted figures were among the developments. This change worldview came tobe known asthe Renazsance Instrument the germination of Renaissance art was the humanist ese ‘eneation of cassia cultures, The subsequent maturation Of Renaissance art and thought wil Chapters 1 Renaisance ight will be chronicled in Chapters # CHRONOLOGICAL OVERVIEW Mm 1200 to Frawcscan OnDe FOUNDED, 09 (How Row Earenon Dare AUCs, 1255-92, The Dine Comedy Faancesco Peventc 04-878, HUMANIST fee : i 2 : é Buse Dears, 348-0 A505 tion orl ay 29 Euecrion oF Cement Vit (AMtGNON), 378 FLecriow oF Ustan VI (Rowe), 8 400