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Nevertheless, his artistic talents were enough to overshadow his lack of organization as a citizen, and he became famous in his own lifetime. In the 14th century Duccio became one of the most favored and radical painters in Siena. |
Artistic career |
Where Duccio studied, and with whom, is still a matter of great debate, but by analyzing his style and technique art historians have been able to limit the field. Many believe that he studied under Cimabue, while others think that maybe he had actually traveled to Constantinople himself and learned directly from a Byza... |
Little is known of his painting career prior to 1278, when at the age of 23 he is recorded as having painted twelve account book cases. Although Duccio was active from 1268 to about 1311 only approximately 13 of his works survive today. |
Of Duccio's surviving works, only two can be definitively dated. Both were major public commissions: the "Rucellai Madonna" (Galleria degli Uffizi), commissioned in April 1285 by the Compagnia del Laudesi di Maria Vergine for a chapel in Santa Maria Novella in Florence; and the Maestà commissioned for the high altar of... |
Style |
Duccio's known works are on wood panel, painted in egg tempera and embellished with gold leaf. Differently from his contemporaries and artists before him, Duccio was a master of tempera and managed to conquer the medium with delicacy and precision. There is no clear evidence that Duccio painted frescoes. |
Duccio's style was similar to Byzantine art in some ways, with its gold backgrounds and familiar religious scenes; however, it was also different and more experimental. Duccio began to break down the sharp lines of Byzantine art, and soften the figures. He used modeling (playing with light and dark colors) to reveal th... |
Duccio was also one of the first painters to put figures in architectural settings, as he began to explore and investigate depth and space. He also had a refined attention to emotion not seen in other painters at this time. The characters interact tenderly with each other; it is no longer Christ and the Virgin, it is m... |
He influenced many other painters, most notably Simone Martini, and the brothers Ambrogio and Pietro Lorenzetti. |
Followers |
In the course of his life, Duccio had many pupils even if it is not known if they were true pupils who were formed and matured artistically within his workshop, or they were simply painters who imitated his style. Many of the artists are anonymous, and their connection to Duccio has emerged only from analysis of a body... |
Another group of followers, who could be termed followers of the second generation, were active between about 1300 and 1335 and include Segna di Bonaventura, Ugolino di Nerio, the Master of the Gondi Maestà, the Master of Monte Oliveto and the Master of Monterotondo. It should, however, be said that Segna di Bonaventur... |
A third group followed Duccio only several years after his death, which shows the impact his painting had on Siena and on Tuscany as a whole. The artists of this third group, active between about 1330 and 1350, include Segna di Bonaventura's sons, that is, Niccolò di Segna and Francesco di Segna, and a pupil of Ugolino... |
Some of the artists were influenced by Duccio alone to the point of creating a decided affinity or kinship between their works and his. Among them was the Master of Badia a Isola, and Ugolino di Nerio, along with Segna di Bonaventura and their sons. Other artists were influenced also by other schools, and these include... |
The case of Simone Martini and Pietro Lorenzetti is somewhat different. Both artists painted works that have affinities with Duccio: for Simone from about 1305, and Pietro from about 1310 onwards. However, from the outset their work showed distinctive individual features, as can be seen in Simone's Madonna and Child no... |
Gallery |
Known surviving works |
Madonna with Child – Tempera and gold on wood, Museo d'Arte Sacra della Val d'Arbia, Buonconvento, near Siena |
Gualino Madonna – Tempera and gold on wood, Galleria Sabauda, Turin |
Madonna with Child and two Angels (Also known as the Crevole Madonna; c. 1280) – Tempera and gold on wood, Museo dell'Opera Metropolitana, Siena |
Madonna with Child enthroned and six Angels (c. 1285) – Also known as the Rucellai Madonna / Madonna Rucellai – Tempera and gold on wood, Galleria degli Uffizi, Florence, Italy (on deposit from Santa Maria Novella) |
Crucifix – Tempera on wood, Odescalchi Collection, Rome, formerly in the Castello Orsini at Bracciano |
Crucifix (Grosseto) (1289) – Church of San Francesco, Grosseto |
Madonna of the Franciscans (c. 1300) – Tempera and gold on wood, Pinacoteca Nazionale, Siena |
Triptych: Crucifixion and other Scenes c. 1302–08 Royal Collection Trust |
Assumption and Crowning of the Virgin – Stained glass window, Siena Cathedral |
Maestà – Tempera and gold on wood, Museum of Fine Arts Bern, Switzerland |
Madonna and Child – Tempera and gold on wood, Metropolitan Museum of Art, New York (formerly in the Stoclet Collection, Brussels, Belgium) |
Madonna with Child and six Angels – Tempera and gold on wood, Galleria Nazionale dell'Umbria, Perugia, Italy |
Polyptych: Madonna and Child with Saints Augustine, Paul, Peter, Dominic, four angels and Christ blessing (also known as Dossale no. 28; c. 1305) – Tempera and gold on wood, Pinacoteca Nazionale, Siena |
Polyptych no. 47: Madonna and Child with Saints Agnes, John the Evangelist, John the Baptist, and Mary Magdalene; ten Patriarchs and Prophets, with Christ blessing – Tempera and gold on wood, Pinacoteca Nazionale, Siena |
The Surrender of the Castle of Giuncarico – Fresco, Palazzo Pubblico, Siena |
Maestà with Episodes from Christ's Passion – Tempera and gold on wood – Massa Marittima Cathedral, Italy |
Small Triptych: Flagellation of Christ; Crucifixion with Angels; Deposition in the Tomb – Tempera and gold on wood, Società di Esecutori di Pie Deposizioni, Siena |
Small Triptych: Madonna and Child with four Angels, Saints Dominic, Agnes and seven Prophets / Madonna con Bambino e con quattro angeli, i santi Domenico, Agnese, e sette profeti – Tempera and gold on wood – The National Gallery, London, England |
Portable Altarpiece: Crucifixion with Christ blessing; St Nicholas; St Gregory – Tempera and gold on wood, Museum of Fine Arts, Boston, United States |
Small Triptych: Crucifixion with Angels; Annunciation and Madonna with Child and Angels; Stigmata of St Francis with Madonna and Christ enthroned – Tempera and gold on wood, UK Royal Collection |
Maestá (Madonna with Child Enthroned and Twenty Angels and Nineteen Saints) – Tempera and gold on wood, Museo dell'Opera del Duomo, Siena |
Maestà (The Temptation of Christ on the Mountain) – Tempera and gold on wood – The Frick Collection, New York |
The Crucifixion (c.1315)– Tempera and gold on wood – New-York Historical Society, New York |
References |
Sources |
Beck, James (2006). Duccio to Raphael. European Press Academic Publishing. ISBN 8883980433. |
Smart, Alastair (1978). The Dawn of Italian Painting 1250–1400. Oxford: Phaidon. ISBN 0714817694. |
Further reading |
Bellosi, Luciano (1999). Duccio: The Maestà. New York: Thames and Hudson. ISBN 978-0500237717. |
Bellosi, Luciano; Ragionieri, Giovanna (2003). Duccio di Buoninsegna. Giunti Editore. ISBN 978-8809032088. |
Deuchler, Florens (1984). Duccio. Milan: Electa. ISBN 8843509721. |
Jannella, Cecilia (1991). Duccio di Buoninsegna. Scala/Riverside. ISBN 978-1878351180. |
External links |
Media related to Paintings by Duccio di Buoninsegna at Wikimedia Commons |
www.DuccioDiBuoninsegna.org 130 works by Duccio |
"The Missing Madonna: The story behind the Met's most expensive acquisition" The New Yorker Magazine, July 11 & 18, 2005, by Calvin Tomkins |
Duccio in Panopticon Virtual Art Gallery |
Duccio di Buoninsegna at the National Gallery of Art, Washington DC |
"Duccio di Buoninsegna" . The New Student's Reference Work . 1914. |
Carl Brandon Strehlke, "Archangel by the Workshop of Duccio di Buoninsegna (cat. 88)" in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication. |
Edgar Degas (UK: , US: ; born Hilaire-Germain-Edgar De Gas, French: [ilɛːʁ ʒɛʁmɛ̃ ɛdɡaʁ də ɡa]; 19 July 1834 – 27 September 1917) was a French Impressionist artist famous for his pastel drawings and oil paintings. |
Degas also produced bronze sculptures, prints, and drawings. Degas is especially identified with the subject of dance; more than half of his works depict dancers. Although Degas is regarded as one of the founders of Impressionism, he rejected the term, preferring to be called a realist, and did not paint outdoors as ma... |
Degas was a superb draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers and bathing female nudes. In addition to ballet dancers and bathing women, Degas painted racehorses and racing jockeys, as well as portraits. His portraits are notable for their psychological comple... |
At the beginning of his career, Degas wanted to be a history painter, a calling for which he was well prepared by his rigorous academic training and close study of classical Western art. In his early thirties he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject... |
Early life |
Degas was born in Paris, France, into a moderately wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas, a banker. His maternal grandfather Germain Musson was born in Port-au-Prince, Haiti, of French descent, and had settled in New Orle... |
Degas (he adopted this less grandiose spelling of his family name when he became an adult) began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand. His mother died when he was thirteen, and the main influences on him for the remainder of his youth were his father and several unmarried uncles. |
Degas began to paint early in life. By the time he graduated from the Lycée with a baccalauréat in literature in 1853, at age 18, he had turned a room in his home into an artist's studio. Upon graduating, he registered as a copyist in the Louvre Museum, but his father expected him to go to law school. Degas duly enroll... |
In 1855, he met Jean-Auguste-Dominique Ingres, whom he revered and whose advice he never forgot: "Draw lines, young man, and still more lines, both from life and from memory, and you will become a good artist." In April of that year Degas was admitted to the École des Beaux-Arts. He studied drawing there with Louis Lam... |
In July 1856, Degas traveled to Italy, where he would remain for the next three years. In 1858, while staying with his aunt's family in Naples, he made the first studies for his early masterpiece The Bellelli Family. He also drew and painted numerous copies of works by Michelangelo, Raphael, Titian, and other Renaissan... |
Artistic career |
Upon his return to France in 1859, Degas moved into a Paris studio large enough to permit him to begin painting The Bellelli Family—an imposing canvas he intended for exhibition in the Salon, although it remained unfinished until 1867. He also began work on several history paintings: Alexander and Bucephalus and The Da... |
Although he exhibited annually in the Salon during the next five years, he submitted no more history paintings, and his Scene from the Steeplechase: The Fallen Jockey (Salon of 1866) signaled his growing commitment to contemporary subject matter. The change in his art was influenced primarily by the example of Édouard ... |
Upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his partaking in the defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, and for the rest of his life his eye problems were a constant worry to him. |
After the war, Degas began in 1872 an extended stay in New Orleans, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degas's New Orleans works, A Cotton Offic... |
Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts. To preserve his family's reputation, Degas sold his house and an art collection he had inherited, and used the money to pay off his brother's debts. Dependent for th... |
Between 1874 and 1886, they mounted eight art shows, known as the Impressionist Exhibitions. Degas took a leading role in organizing the exhibitions, and showed his work in all but one of them, despite his persistent conflicts with others in the group. He had little in common with Monet and the other landscape painters... |
As his financial situation improved through sales of his own work, he was able to indulge his passion for collecting works by artists he admired: old masters such as El Greco and such contemporaries as Manet, Cassatt, Pissarro, Cézanne, Gauguin, Van Gogh, and Édouard Brandon. Three artists he idolized, Ingres, Delacroi... |
In the late 1880s, Degas also developed a passion for photography. He photographed many of his friends, often by lamplight, as in his double portrait of Renoir and Mallarmé. Other photographs, depicting dancers and nudes, were used for reference in some of Degas's drawings, and paintings. |
As the years passed, Degas became isolated, due in part to his belief that a painter could have no personal life. The Dreyfus Affair controversy brought his anti-Semitic leanings to the fore and he broke with all his Jewish friends. His argumentative nature was deplored by Renoir, who said of him: "What a creature he w... |
After 1890, Degas's eyesight, which had long troubled him, deteriorated further. Although he is known to have been working in pastel as late as the end of 1907, and is believed to have continued making sculptures as late as 1910, he apparently ceased working in 1912, when the impending demolition of his longtime reside... |
Artistic style |
Degas is often identified as an Impressionist, an understandable but insufficient description. Impressionism originated in the 1860s and 1870s and grew, in part, from the realism of painters such as Courbet and Corot. The Impressionists painted the realities of the world around them using bright, "dazzling" colors, con... |
Technically, Degas differs from the Impressionists in that he continually belittled their practice of painting en plein air. |
You know what I think of people who work out in the open. If I were the government I would have a special brigade of gendarmes to keep an eye on artists who paint landscapes from nature. Oh, I don't mean to kill anyone; just a little dose of bird-shot now and then as a warning. |
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