CIMABUE and GIOTTO | maItaly
Seven centuries ago, Giotto was famous for being famous. this work by his pupil as a connection, albeit second-hand, with the master. Vasari, who relates how Cimabue discovered Giotto, tells how when Cimabue painted. Lib: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters. of the deepest human relationships which the outward course of history reveals in .. For the last time, we might say, Dante in his great poem represents the life of man . He was the teacher of Giotto, considered to be the first truly great (Some art historians dispute the claim that Cimabue was Giotto's teacher, by.
Giotto di Bondone | Art in Tuscany | Podere Santa Pia, Holiday house in the south of Tuscany
You can feel the coldness of death in the painting. Giotto broke significantly with the traditions of medieval art, painting bodies and drapery with intense shadows and a feeling of depth. He also infused his figures with a newfound emotional depth. His most famous works are found in Padua in the Scrovegni Chapel fromwhere Giotto decorated the walls and with vividly colored frescos.
In it, the dead Christ has been removed from the cross and is mourned. In particular, Giotto paints drapery and clothing with precision- you can easily sense the shape of the bodies undernieth. Most impressive are the weeping faces, which are incredibly expressive and enhance the feeling of sorrow and despair. Even Heaven itself is crying in anguish, seen in the weeping angels circling the sky. One important late medieval figure who played a key role in shaping the cultural concepts of life after death—even to the present day—is Dante Alighieri, the Florentine poet who was born in the s and died in Many details that he describes along this journey have left a lasting impression on the Western imagination for more than half a millennium.
In fact, the rather stereotypical images of the afterlife I described earlier are all represented in his work. Because of Dante's image-driven descriptions, many artists have sought to illustrate his text through a wide variety of media.
Almost immediately after his work was completed, illuminators created images to accompany manuscripts of his masterpiece. More than forty illuminated manuscripts of the Divine Comedy were created before the advent of the printing press in the late 15th century. We will look here at two outstanding examples of how Dante's words fed the creative imagination of visual artists before and shortly after the invention of the printing press.
Florence Baptistry Battistero di San GiovanniFlorence Baptistry Battistero di San GiovanniThe influence of art on Dante's world Before looking at Dante's influence on the visual arts, however, we need take a little step back in time. The relationship between Dante and the arts was a reciprocal one; images he had seen also greatly influenced his literary vision.
A star is born
Were there any sights, sounds or works of art you saw as a child that you can still easily call to mind today? If you were writing a fictional story that relied heavily on your own imagination, could you see yourself drawing from these vivid sensorial experiences and making them a part of that story? This was the case for Dante. Mosaic detail of the Last Judgment on the ceiling of the Florence Baptistry Mosaic detail of the Satan in the Last Judgment on the ceiling of the Florence Baptistry 13th century Florence was full of artistic marvels well before the Renaissance.
Incredible works of art and architecture filled the city well before Dante's birth in late medieval times. A comparison between two paintings of th e same subject by Giotto and the Master of Nerezi may clarify the novelty represented by the paintings of Giotto and justify the importance of his contribution to the Early Renaissance. The first painting is by an anonymous Byzantine artist, referred to as the Master of Nerezi: Pantaleimon, created in Middle Byzantine period located in Nerezi, Macedonia.
The other represents the same subject as depicted by Giotto inin the Capella degli Scrovegni, in Padua, Italy. The influence of Byzantine art in western Europe, particularly Italy was seen in ecclesiastical architecture, through the development of the Romanesque style in the 10th century and 11th centuries.
The Master of Nerezi is undeniably able to transmit something of the pathos, the emotional dimension, of his subject, within the constraints of the Byzantine formal rules.
In comparison to the early, strictly hieratic and solemn expression of the royal or Imperial-Christian art of Byzantium, there is here a more dynamic visual concept and action indeed: The Virgin Mary embracing the deposed Christ, the curved body of the disciple holding the hand of Christ, within a very briefly indicated location and schematic spatial setting.
As Gombrich The Story of Art observed about the Byzantine style, within this basically two-dimensional formal concept in painting, we distinguish also the heritage of Greek and Hellenistic art, largely transformed but still recognizable. Skiagraphia aimed at optical effects, the creation the impression of solid and round bodies in space taking into account a subjective point of view.
Art History Blogger: Cimabue, Giotto and Duccio- A comparison of three Madonnas
They not simply rest as patterns upon a surface, but occupy their own space and interact within the virtual space of the painted setting: In Giotto's Lamentation we recognize a tableau vivant or "staged picture" of representations of sacred narratives. Giotto is also known to have painted some frescoes in the choir of old St. Peter's, but these are lost. These Roman works also pose problems in attribution and criticism.