article critique revision

Article Critique: Artists and Diplomacy in Late Medieval Tuscany

In his thesis, the author describes the conflict between the work of artists and the politics that existed between different cities in late medieval Italy. Although the writer does not describe how politics interfered directly with the lives of artists, he illustrates how leaders and politicians at the time determined the commission of various artists. The author mentions several artists who are believed to be the king pins in artistic works at the time. These artists were from different cities in Italy and there were leaders who motivated them for political reasons. These artists include: Andrea Pisano, Giotto, Simone Martini etc. The author also describes how politics influenced cultural interactions between different cities in Italy. He says that good political relations helped in promoting cultural interactions. On the contrary political rivalry contributed to enmity between different cities and this hindered cultural interactions. The writer is silent on how religion influenced artistic work, politics and cultural interactions. Although he mentions how interaction between religion and artistic work has been discussed by previous authors, he doesn’t have enough justification to skip the aspect of conflict between religion, politics, culture and artists.

The author has provided visual evidence to support his arguments. There are several art works that have been cited in the document. These art works are mostly paintings that were done by various artists who were well known. These are paintings of people, structures associated with church and combination of both. Simone Martin and Giotto were celebrated artists in the medieval Italy. It is said that they had great interests in political paintings probably because of the huge benefits that were associated with such line of specialization. They are believed to have been spreading propaganda through their paintings in order to communicate political ideas from the governments of those days. Giotto is said to have painted Duke Charles son of King Robert in a political manner. He also delivered other paintings that were made to bring about political tensions.

Most paintings in the article describe the royal families. For example, figure one and two shows paintings of Charles I of Anjou, Rome and Emperor Henry of Luxembourg, Pisa. These are people who were highly respected in the society then. They were elevated to positions of gods because they protected kingdoms and they had powers to declare war. From the look of the paintings, it is evident that they were political. The nature of the painting was determined by the political affiliations of the artist. This is due to the fact that the artists were motivated by commissions that were given by different cities.

There are many paintings of structures associated with churches. Figures 15 and 16 shows a tomb of Bishop Orsi and bronze doors of Baptistery. This is a clear indication that there was a connection between artistic works and religion specifically Christianity. For example an artist like Simone Martin is said to have impressed Domicans by making a standard altarpiece. The artist was also contracted to produce similar works for other churches in the Roman province. Considering that Simone Martin was also a political painter, there is basis of connection between religion and politics in this article. In addition to this there are numerous examples of great works that were done by artists in the medieval Italy. The wonderful paintings that were done by artists for church events and structures are an indication that most of the artists were religious. Therefore, the connection between artistic works and religion was in a significant manner.

Through the visual evidence, the author has managed to prove his point. He has illustrated how the mighty were able to manipulate artists for their own political interests. For example he says: “Given the political climate, it is no surprise that Florentine artists were not employed in Ghibelline towns. The only case of which I am aware is readily explained. when Coppo di Marcovaldo executed the Madonna del Bordone for the Service church in Siena in 1261 he did so probably as a prisoner of war. Coppo is mentioned as a shield bearer (pavesarius) in the Florentine militia before the battle of Montaperti during which he was probably taken captive and later obliged to place his talent at the service of the victorious Sienese”. The author uses figures to explain his argument. A reasonable reader is able to understand the relationship between politics and artistic works when he or she sees the pictures that are backed with a concrete explanation.

Although there are cases of religion in his illustration, the author tries to downplay them. He is biased because he has concentrated more on politics than religion. When using figures to illustrate the subject matter, he creates a picture of politics when describing religious activities. This is made to emphasize on the theme of politics on his thesis. For example he says: “The religious iconography that had become conventional on Italian tombs (e.g., patron saints of the deceased, the Man of Sorrows, the commendatio animae) is combined with, and sometimes displaced by, imagery that is secular, militaristic, and self-serving. This use of art to celebrate a local ruler or the politically powerful would have been anathema in the Guelf communes of Florence, Siena, or Perugia”. His argument in this context is an indication that politics has taken center stage in his argument.