How space depiction changed in art during the trecento 14th centurary in Italy

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How does the depiction of interior space change during the Trecento? Use at least three works to illustrate your answer.


During the Trecento the depiction of interior space changed from Duccio’s less then convincing space in 108 to the more convincing space of Simone Martini in 18 until it ended in Ambrogio Lorenzetti’s revolutionary depiction of space in 14.


During the early part of the Trecento (108-111) one of the leading artists in Italy was Duccio. Duccio depicted interior space using a dolls house interior e.g. The Last Supper this is where the viewer can see the walls, floors and ceiling. He also combines birdseye view and oblique view in The Last Supper e.g. the bowls on the table this gives an illusion of the space being tilted which is rather unconvincing yet it does enhance his brilliant attention to detail and our understanding of the story. Duccio used mainly empirical space devices in interior scenes this is where he paints space as he sees it instead of to a formula e.g. Shading on interior walls in The Last Supper. Duccio also uses frontal foreshortening in interior space e.g. knives on the table in The Last Supper this was very original in style and solution although not accurate. Duccio’s figures were very elegant and linear without real volume showing the Byzantine traditions that influenced him while this was not very convincing it did cause his figures to have a beauty and grace about them and made them seem ethereal and not from our world which was what he wanted. So while none of these techniques were a rational description of space we can understand why he did it � to better help us see his other strengths e.g. his attention to detail and to help the viewer to see and understand the story better and yet remain detached from it.


The next artist that changed the depiction of interior space during the Trecento was Simone Martini during 18-. Martini uses recession of objects into depth in his depiction of interior space e.g. the throne and marble floor in The Annunciation recede into the background giving the illusion of space. Martini also uses patterns to aid in his depiction of interior space e.g. in The Dream of St Martin the chequred pattern on the bedspread help cause the bed to tilt in space while this is not entirely convincing it does invite us into the picture and help us to better see St Martin. The pattern on the curtains in The Dream of St Martin also shows clear definitions of space, as it gets blurry where we are not looking at it front on. The bed spread also folds convincingly over the sleeping form of St Martin showing correct change in pattern and the edging of the pillow and sheet show brilliant understanding of forms in space. Martini also showed a remarkable understanding for positive and negative space (solid and void) there is charged space between figures in his Annunciation as the violence of the Virgin’s movement increases the effect of negative space between the figures.





During 14 Lorenzetti painted his Presentation in the Temple where he penetrates architectural space in a manner not seen since Roman antiquity. The space in this painting is rational and the figures operate in space that is in no way tilted in the manner of Duccio. He cuts off the front of the temple so we can see both the interior and exterior dome. He also creates believable space through overlapping e.g. columns, figures, the alter and the priest all overlap. Diminution of scale is used this is where objects get smaller as they recede into space e.g. capitols of the columns. He like Martini also uses pattern to help depict space although he uses it on a smaller scale e.g. the patterned tiles help to create credible spatial depiction by receding into the distance and the lines in the pavement recede to the same spot creating spatial depth. While he still uses medieval double scale as all others that came before him did he has reduced the size of the figures to make the architecture more believable. Although the interior space is dark the details are believably illuminated by light from the dome. He also creates deep bays in the back of the temple using arches.


Although both Martini’s and Lorenzetti’s works were influenced by Duccio they both successfully tried to improve upon his and develop there own techniques of space into something much more rational and real while keeping his ideas of grace, attention to detail, drama and humanism alive.





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