#duccio di buoninsegna

[silezukuk]

Duccio di Buoninsegna από τη Σιένα - Η ανάσταση του Λαζάρου (λεπτομέρεια), 1310–11 / [***]

[artandthebible]

The Miraculous Catch of Fish and the Calling of the Apostles Peter and Andrew

Artist: Duccio di Buoninsegna (Italian, c.1260- c. 1318–1319)

Genre: Religious Art

Date c. 1308-1311

Medium: Tempera on Wood

National Gallery of Art, Washington, DC

Jesus Calls Peter and Andrew | Matthew 4:1822

Jesus was walking by the Sea of Galilee. He saw two brothers. They were Simon (his other name was Peter) and Andrew, his brother. They were putting a net into the sea for they were fishermen. Jesus said to them, “Follow Me. I will make you fish for men!” At once they left their nets and followed Him.

Going from there, Jesus saw two other brothers. They were James and John, the sons of Zebedee. They were sitting in a boat with their father, mending their nets. Jesus called them. At once they left the boat and their father and followed Jesus.

[carloskaplan]

Duccio: A Virxe co Neno

[lionofchaeronea]

The Incredulity of Saint Thomas (from the Maesta Altarpiece), Duccio, 1308

[conformi]

Randal Kleiser, Grease, 1978 VS Duccio di Buoninsegna, Maestà, 1308-1311

[countryimages]

Duccio di Buoninsegna

[christliche-kunstwerke]

Pilate washing his hands, detail from Episodes from Christ's Passion and Resurrection, reverse surface of Maesta' of Duccio Altarpiece in the Cathedral of Siena by Duccio di Buoninsegna

[schizografia]

Jean Paris ha illustrato il funzionamento di questi poli nella pittura, dal Cristo dispotico al Cristo passionale: da una parte, il viso del Cristo visto di faccia, come in un mosaico bizantino, con il buco nero degli occhi sul fondo dorato, mentre tutta la profondità sembra proiettarsi in avanti; d’altra parte, i visi che s’incrociano o si voltano, di tre quarti o di profilo, come in una tela del Quattrocento, con sguardi obliqui che tracciano linee molteplici ed integrano la profondità nel quadro stesso (si possono prendere esempi arbitrari di transizione e di mescolanza: la Vocazione degli Apostoli, di Duccio, su paesaggio acquatico, in cui la seconda formula prevale già nel Cristo e nel primo pescatore, mentre il secondo pescatore resta preso nel codice bizantino).

Gilles a Deleuze & Felix Guattari, Anno zero, viseità

[themuseumwithoutwalls]

MWW Artwork of the Day (4/3/23) Duccio di Buoninsegna (Sienese, c. 1255-1319) Maestà: Washing of the Feet (c. 1308-11) Tempera on wood, 50 x 53 cm. Museo dell'Opera del Duomo, Siena

Only John tells the story of the Washing of the Feet and the events should therefore be read from the top downwards, according to the order in which they occur in this gospel. The setting is the interior, in central perspective, of an unadorned room; the only decorative elements are the coffered ceiling and the multifoiled insert placed on the rear wall. This detail must also be imagined in the "Last Supper," hidden by Christ's halo, since it reappears in "Christ Taking Leave of the Apostles," which according to the gospel occurs in the same place. Echoes from Byzantine art can be seen in the "Washing of the Feet," in the crowded throng of the apostles and Peter's gesture, while Christ's position recalls Western models. The shape of the black sandals, aptly described by Cesare Brandi "as if they were precious onyx scarabs", is typical.

Duccio is one of the featured artists in this MWW gallery/album: https://www.facebook.com/media/set/?set=a.458364304268944&type=3

[izvletchenie]

Duccio di Buoninsegna, The Temptation of Christ on the Mountain (detail), 1308—1311

[100-art]

100+ Famous Modern Art Artists of All Time

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[artandthebible]

The Calling of the Apostles Peter and Andrew

Artist: Duccio di Buoninsegna  (Italian, 1255–1319)

Medium: Tempera on Panel

Date: 1308-1311

Period: Italian Renaissance painting

Collection: National Gallery of Art

Description

The style anticipates the Renaissance with an attempt at depth through modeling, contour, and compositional divisions. Christ stands on a rocky shore that is painted as a strong vertical on the left side of the picture. The use of gold behind the disciples, retained from the medieval tradition, creates a sense of depth and indicates a movement toward naturalism in painting. The net, transparent and full of fish, dangles in front of the boat as it is drawn out of the water.

Jesus Calls Peter and Andrew

"Jesus was walking by the Sea of Galilee. He saw two brothers. They were Simon (his other name was Peter) and Andrew, his brother. They were putting a net into the sea for they were fishermen. Jesus said to them, “Follow Me. I will make you fish for men!” At once they left their nets and followed Him. Going from there, Jesus saw two other brothers. They were James and John, the sons of Zebedee. They were sitting in a boat with their father, mending their nets. Jesus called them. At once they left the boat and their father and followed Jesus." Matthew 4:18-22 (New Life Version)

[fabiansteinhauer]

Retabel

Das Retabel ist eine Tafel, die retabliert, also dasjenige tut, was nach Walter Benjamin die Form des Kommentars mit dem Geheimnis phasenweise macht. Was ein Geheimnis ist? Das ist u.a. ein Schreiben, allgemein sind Geheimnisse (choreo-)graphische Akte(n), die durch Sekretariate gehen, also auch dank der Sekretariate vorgehen, Vorgänge bilden können. Retablieren ist wiederholtes, wiederholendes, in Warburgs Sinne nachlebendes und dabei kehrendes Tafeln. Selbst wenn im Kehren das Selbe wiederkehrt, bleibt es polar und vage und darum auch schwer kalkulierbar bis unberechenbar. Man kann trotzdem rational, routiniert oder technisch damit umgehen: Warburg macht es ja.

Wie Tafel 78, so hat auch Tafel 79, die zweite der Staatstafel, eine Initiale, sie besteht hier aber nicht aus einem Bild, sondern drei Bildern in der oberen linken Ecke der Tafel. Warburg legt diese Tafel nicht wie Tafel 78 an, er legt sie nicht als diplomatisches Protokoll eines diplomatischen Protokolls an. Er legt diese Tafel als Kommentar an. Die Initiale zeigt dabei drei Bilder eines, des selben Gegenstandes, einmal davon in einem und durch ein Retabel verhüllt, das Retabel von Bernini in St. Peter. Weil eine der Vertragsparteien der heilige Stuhl ist, wählt Warburg Bilder eines Stuhls, nicht des heiligen Stuhls (dessen Repräsentation im Lateranpalast steht). Warburg wählt einen Lehrstuhl (catedra petri), wenn man so will: den Stuhl einer venia legendi. Wenn man weiter so will: den Stuhl eines venerischen Gerüchtes, also venerischen, normativen Materials. Warburg denkt sich was dabei, er wählt einen Stuhl, der ein Polobjekt ist, weil an seiner Vorderseite, wie auf den Staatstafeln', Tafeln hängen, deren Vorbilder Sternenbilder sind, die also Bewegung möglich machen sollen, vor allem die letzten beiden Schritten in Warburgs Sortierung: die Orientierung und die Aktion, das Handeln. Er wählt also einen Stuhl, der seinem Interesse an Bildern exakt entspricht, er macht das als der Polarforscher, der er nunmal ist.

Der Stuhl wird über die Tafel gezogen, kehrt als kurulischer Klappstuhl, also als Polobjekt des römischen ius imaginum einmal in hohem Stil, also sublim und nahe am Souverän, nämlich in Raffaels Bild wieder auf, an ihm kniet Julius II. Und oops, he did it against, noch einmal kehrt der Stuhl wieder, wieder als Klappstuhl, aber diesmal in einem niederen, subtilen Stil, weit entfernt vom Souverän, aber dafür nahe an den Leuten, nach denen Leute wie Laokoon schauen müssen, weil an ihnen immer etwas absteht. Als Campingstuhl von Touristen taucht der Stuhl, der in der Initiale drei mal gezeigt wird, auch der Sache nach drei mal auf der Tafel auf.

[lionofchaeronea]

Madonna and Child, Duccio, ca. 1300

[rh35211]

Jesus fühlte rein und dachte

Nur den Einen Gott im Stillen;

Wer ihn selbst zum Gotte machte

Krdnkte seinen heil'gen Willen.

Und so mu_ das Rechte scheinen

Was auch Mahomet gelungen;

Nur durch den Begriff des Einen

Hat er alle Welt bezwungen."

Jesus felt pure and thought

Only the One God in silence;

Who made him a god himself

Confirmed his holy will.

And that's how the right thing must seem

What Mahomet also achieved;

Only through the concept of the One

He has conquered all the world."

[countryimages]

Duccio di Buoninsegna