Picture Study

Total Page：16

File Type：pdf, Size：1020Kb

Age of Triumph Picture Study www.agesofgrace.com Page 1 Age of Triumph Picture Study www.agesofgrace.com Page 2 Age of Triumph Picture Study Giotto di Bondone {Term 1} Study Notes: During Term 1 we will become familiar with the works of the Italian painter and architect, Giotto di Bondone of the Late Gothic period. Giotto was born in Florence in either the year 1266 or 1267 AD and was an apprentice of the Italian painter, Cimabue. (Cimabue is considered to be the last of the Italian artists to work in the Byzantine Tradition.) Giotto died in 1337 AD in the city of Florence. Giotto ushered in the Humanist and Renaissance periods of art. As you’re studying the works of Giotto, discuss the differences between his religious art and the language of the icon. Ask your children to add Giotto and Cimabue to their Book of Centuries and locate the Italian cities of Florence, Assisi, and Padua on a map. Spend Term 1 exploring these links together: Giotto di Bondone Scrovegni Chapel Video of the Scrovegni Chapel, Padua BBC video of the Santa Croce Chapel, Florence Cimabue Picture Study Rotation {Term 1} Weeks Painting Year Location Weeks 1-2 Preaching to the Birds 1297-1299 Assisi, Italy Weeks 3-4 The Birth of Jesus ca. 1305 Padua, Italy Weeks 5-6 Adoration of the Magi ca. 1305 Padua, Italy Weeks 7-8 Madonna Enthroned ca. 1305 Florence, Italy Week 9-10 Resurrection of Lazarus ca. 1305 Padua, Italy Weeks 11-12 Jesus Washes the Feet of the ca. 1305 Padua, Italy Apostles www.agesofgrace.com Page 3 Age of Triumph Picture Study Recommended Reading {Term 1} Title Author Getting to Know the World’s Greatest Artists: Giotto Mike Venezia A Boy Named Giotto Paolo Guarnieri The Glorious Impossible Madeleine L’Engle Giotto and Medieval Art Lucia Corrain www.agesofgrace.com Page 4 Age of Triumph Preaching to the BirdsPicture Study Giotto di Bondone, Italy 1267 ~ 1337 www.agesofgrace.com www.agesofgrace.com Page 5 Age of Triumph Picture Study www.agesofgrace.com Page 6 Age of Triumph Picture Study www.agesofgrace.com Page 7 Age of Triumph Madonna EnthronedPicture Study Giotto di Bondone, Italy 1267 ~ 1337 www.agesofgrace.com www.agesofgrace.com Page 8 Age of Triumph Picture Study www.agesofgrace.com Page 9 Age of Triumph Picture Study www.agesofgrace.com Page 10.

Copy Link

Recommended publications

The Annunciation: Symbolic Functions of Space in Renaissance Depictions of the Annunciation
1 The Annunciation: symbolic functions of space in Renaissance depictions of the Annunciation In the sixth month the angel Gabriel was sent by God to a town in Galilee called Nazareth, to a virgin engaged to a man whose name was Joseph, of the house of David. The virgin’s name was Mary. And he came to her and said, ‘Greetings, favoured one! The Lord is with you.’ But she was much perplexed by his words and pondered what sort of greeting this might be. The angel said to her, ‘Do not be afraid, Mary, for you have found favour with God. And now, you will conceive in your womb and bear a son, and you will name him Jesus’ (Luke 1.26-31). The Annunciation is, together with the Crucifixion and the Resurrection, the most commonly depicted Biblical event of the Renaissance. Of these three events the Annunciation is interesting in terms of the space it depicts. The fundamental message of Christianity is the meeting of the divine and the human in the figure of Christ, the God-man. This meeting is prefigured by the Annunciation, where the divine (Gabriel) and the human (Mary) come together in a shared space. The Annunciation contains the Christian message within it like a seed, as indeed it is. To be born of flesh entails that Christ must suffer and eventually die; therefore this moment contains within it all that Christ means in terms of man’s redemption. The Annunciation provides the opportunity for the religious artist to investigate these ideas through the structural workings of the confinements of Mary’s dwelling.
[Show full text]
GIOTTO and MODERN ART* N OT Long Ago I Was Led to the Statement
GIOTTO AND MODERN ART* OT long ago I was led to the statement that we could N not understand modern art unless we understood Giotto-a statement that implied that the modern art move- ments have their sources in him. As a matter of fact, when we speak of the sources of any art movement, we are not on too solid ground. It is evident that there are powerfuI under- lying forces which influence and shape art forms, but to lo- cate the source of any style in a specific person means only to recognize the artistic criteria of the moment-standards which are as varied and changeable as that much desired quality which we caIl Beauty. Not too many years ago contemporary painting boasted free and virile brush strokes. This direct painting, then con- sidered the height of modernism, was shown as the direct descendant of Frans Hals and Velasquez. The imitative art of the 19th and 20th centuries looked for its sources in the illusionism of the Italian Renaissance and saw Masaccio as the father of modern painting. Then as subjective expression gradually replaced objective imitation, El Greco was rediscovered as the forefather of modern painting. With so many paternal ancestors already claimed, let us not fall into the error of putting still another father of modern art in the roots of the family tree. *This lecture was illustrated by lantern slides. In an attempt to clarify the allu- sions, the title and author of each illustration are printed in a marginal note at the point in the text that the illustration was used.
[Show full text]
Heavenly Earth: Visions of Saint Francis in Italian Cinema
Heavenly Earth: Visions of Saint Francis in Italian Cinema David Gariff Notes to accompany the films Francesco d’Assisi, The Flowers of Saint Francis, and Hawks and Sparrows, screening Sunday, April 1, 2018, at the National Gallery of Art nga.gov/film (front cover) Uccellacci e uccellini (Hawks and Sparrows) (above) The Flowers of Saint Francis (back cover) Francesco d’Assisi Courtesy Photofest If you know that I am an unbeliever, then you know me better than I do myself. I may be an unbeliever, but I am an unbeliever who has a nostalgia for a belief. — Pier Paolo Pasolini (1966)1 Uccellacci e uccellini (Hawks and Sparrows), Courtesy Photofest 1 Heavenly Earth: Visions of Saint Francis in Italian Cinema SAINT FRANCIS OF ASSISI (1181/1182 – 1226) was a complex and contradictory figure in religious history. The son of a wealthy silk merchant, he indulged in many of the youthful pleasures and pursuits that his station in life afforded. He was familiar with sin, as he later admitted, and was also ambitious, longing for prestige and status. Francis only slowly came to alter his life of pleasure. As a young soldier he fought in a minor conflict between Assisi and Perugia during which he was taken prisoner and held captive for a year. He became ill and be- gan to experience doubts about the life he had led up to this point. Upon his release, however, his ambition to become a great knight returned. His princely ambitions were finally shaken by two prophetic dreams that turned his thoughts toward the spiritual life.
[Show full text]
"Things Not Seen" in the Frescoes of Giotto
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2017 "Things Not Seen" in the Frescoes of Giotto: An Analysis of Illusory and Spiritual Depth Aaron Hubbell Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Hubbell, Aaron, ""Things Not Seen" in the Frescoes of Giotto: An Analysis of Illusory and Spiritual Depth" (2017). LSU Master's Theses. 4408. https://digitalcommons.lsu.edu/gradschool_theses/4408 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. "THINGS NOT SEEN" IN THE FRESCOES OF GIOTTO: AN ANALYSIS OF ILLUSORY AND SPIRITUAL DEPTH A Thesis Submitted to the Graduate Faculty of Louisiana State University and the School of Art in partial fulfillment of the requirements for the degree of Master of Arts in Art History in The School of Art by Aaron T. Hubbell B.F.A., Nicholls State University, 2011 May 2017 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Elena Sifford, of the College of Art and Design for her continuous support and encouragement throughout my research and writing on this project. My gratitude also extends to Dr. Darius Spieth and Dr. Maribel Dietz as the additional readers of my thesis and for their valuable comments and input.
[Show full text]
Christ Crucified Giotto 1310 Scrovegni Chapel, Padua, Italy This Picture Is
Christ Crucified Giotto 1310 Scrovegni Chapel, Padua, Italy This picture is one of many that depicts the story of Jesus Christ along the walls of the Scrovegni chapel in Padua Italy. This picture is a rather busy crucifixion scene but rich in symbolism that shows a deeper meaning often overlooked. In this picture we see the main subject is the crucifixion of Jesus Christ. Jesus is hung on the cross low enough that Giotto could also paint Mary Magdalene kissing his feet. This alludes to the passage in the Gospel of Luke where a sinful women showed up where Jesus was dining, stood at his feet and wept because of her sins. She then bathed his feet with her tears and wiped them with her hair, kissed them, and anointed them. (Lk 7: 36-50) Although the woman’s name is not mentioned, early tradition has her as Mary Magdalene. Giotto places her at the foot of the cross once again kissing the feet of Jesus with her tears. Off to the left is Mary, the mother of Jesus, who is distraught while St. John and another woman named Mary are consoling her. Notice the angel directly above St. John looks toward Mary with a concerned face, as if thinking, “is she going to be alright?” It’s hard to see the Mother of Jesus as she blends in with the blue sky. One would think Giotto would have picked a different color for her. However, that would have gone against tradition as Mary, in this time period, was only shown in blue.
[Show full text]
Mary and the Women from Galilee 51
50 Copyright 2009 Center for Christian Ethics at Baylor University This image is available in the print version of Christian Reflection. The presence of the three Marys surrounding the body of Jesus in Giotto’s fresco, LAMENTATION , reminds us of the importance of women in the gospel accounts of Christ’s life. Giotto di Bondone (c. 1277-1336/7), LAMENTATION (1305-1306). Fresco, 78 ¾” x 72 ⅞”. Arena Chapel, Padua. Photo: © Alinari/ Art Resource, NY. Used by permission. Mary and the Women from Galilee 51 Mary and the Women from Galilee BY HEIDI J. HORNIK iotto’s fresco Lamentation in the Arena Chapel continues a tradition of depicting the three Marys’ role in the grieving over Jesus’ body Gafter it had been taken from the cross (not visible in this painting). This scene of lamentation is an apocryphal story, yet it incorporates signifi- cant details from the biblical accounts of the women who were present at the crucifixion and burial of Jesus. The Gospel of John says that three Marys—Jesus’ mother; his mother’s sister, Mary the wife of Clopas; and Mary Magdalene—stood near the cross (John 19:25). The Synoptic Gospels report that many women who followed Jesus from Galilee observed his crucifixion “from a distance” (Matthew 27:55; Mark 15:40-41; and Luke 23:48). Mark adds that “among them were Mary Magdalene, and Mary the mother of James the younger and of Joses, and Salome” (Mark 15:40b), while Matthew specifically identifies “Mary Magdalene, Mary the mother of James and Joseph, and the mother of the sons of Zebedee” as present (Matthew 27:56).
[Show full text]
Madonna and Child with Saint John the Baptist, Saint Peter, and Two Angels C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Tuscan 13th Century Madonna and Child with Saint John the Baptist, Saint Peter, and Two Angels c. 1290 tempera on panel painted surface (original panel including painted frame): 34.3 × 24.7 cm (13 1/2 × 9 3/4 in.) overall (including added wooden strips): 36 × 26 cm (14 3/16 × 10 1/4 in.) Inscription: on the scroll held by Saint John the Baptist: E[C]CE / AGNU[S] / DEI:[ECCE] / [Q]UI [TOLLIT PECCATUM MUNDI] (from John 1:29) Samuel H. Kress Collection 1952.5.60 ENTRY The enthroned Madonna supports her son, seated on her left knee, with both hands. The child, in a frontal position, blesses with his right hand, holding a roll of parchment in his left. The composition is a variant of the type of the Hodegetria Virgin; in the present case, she does not point towards her son, as in the Byzantine prototype, but instead presents him to the spectator. [1] Her affectionate maternal pose is thus given precedence over her more ritual and impersonal role. But Mary’s pose perhaps has another sense: she seems to be rearranging her son’s small legs to conform them to the cross-legged position considered suitable for judges and sovereigns in the Middle Ages. [2] The panel is painted in a rapid, even cursory manner. The artist omits the form of the throne’s backrest, which remains hidden by the cloth of honor, supported by angels and decorated with bold motifs of popular taste (an interlocking pattern of quatrefoils and octagons).
[Show full text]
Dante E Giotto Due Linguaggi a Confronto Nell'italia Del Trecento
Dante e Giotto Due linguaggi a confronto nell’Italia del Trecento Realtà e verosimiglianza Pochi momenti della storia dell’arte e delle lettere hanno conosciuto tanti cambiamenti quanto i secoli XIII e XIV. In questa fase del Medioevo, geni come Giotto, Cimabue, Guido Guinizzelli, Pietro Cavallini, Arnolfo di Cambio, Dante Alighieri compiono una vera rivoluzione copernicana che ha a oggetto una nuova 1 raffigurazione artistico-letteraria mimetica della realtà. Nasce così una nuova tradizione, rispondente al desiderio di rappresentare gli uomini e il mondo, così come si rendono visibili agli occhi di ognuno nella propria individualità. In altre parole, la mano del pittore, la penna del poeta, compiono un balzo in avanti nella loro capacità di riprodurre la realtà in maniera sempre più verosimile, tanto nella rappresentazione dei temi sacri quanto in quella dei temi profani. II paragone tra Dante e Giotto ha un fondamento storico: Giotto, nato presso Firenze verso il 1266, è stato un coetaneo, un concittadino e, stando alla tradizione, un amico di Dante. Tuttavia, è stato giustamente osservato (Battisti) che, tra il poeta e il pittore, le divergenze prevalgono sulle analogie. Le radici del pensiero e dell’opera dei due autori Proprio perché operano in ambiti e con intenti diversi, tuttavia, Dante e Giotto sono i due grandi pilastri di una nuova cultura, consapevole delle proprie radici storiche. La loro opera ha valore di summa, di sintesi di grandi esperienze culturali, di sistema. Il sistema di Dante ha una struttura dottrinale e teologica modellata sul pensiero di San Tommaso; il sistema di Giotto ha una struttura etica che discende dall'altra sorgente della vita religiosa del Duecento, San Francesco.
[Show full text]
A Portrait of Central Italy's Geology Through Giotto's
1 A PORTRAIT OF CENTRAL ITALY’S GEOLOGY THROUGH GIOTTO’S PAINTINGS 2 AND ITS POSSIBLE CULTURAL IMPLICATIONS 3 4 Ann C. Pizzorusso 5 6 Independent Geologist, 511 Avenue of the Americas, New York, New York 10011 USA 7 8 Correspondence to: Ann C. Pizzorusso ([email protected]) 9 10 Abstract. Central Italy has some of the most complex geology in the world. In the midst 11 of this inscrutable territory, two people emerged--St. Francis and Giotto--they would 12 ultimately change the history of ecology, religion and art by extoling the landscapes and 13 geology of this region. 14 15 From Antiquity to the Middle Ages, man had a conflictual relationship with nature, seeing 16 it as representing either divine or satanic forces. On the vanguard of a change in 17 perspective toward the natural world was St. Francis of Assisi (c.1181-1226) who is now, 18 thanks to his pioneering work, patron of ecology. He set forth the revolutionary philosophy 19 that the Earth and all living creatures should be respected as creations of the Almighty. 20 21 St. Francis’ affinity for the environment influenced the artist Giotto (c.1270-1337) who 22 revolutionized art history by including natural elements in his religious works. By taking 23 sacred images away from Heaven and placing them in an earthly landscape, he 24 separated them definitively from their abstract, unapproachable representation in 25 Byzantine art. Giotto’s works are distinctive because they portray daily life as blessed, 26 thus demonstrating that the difference between the sacred and profane is minimal.
[Show full text]
Giotto Di Bondone | Sample Answer
Giotto Di Bondone | Sample answer 2014 Higher Level Question 9 Giotto [c. 1267-1337] created an illusion of depth on a flat surface and portrayed dramatic events as if they were happening on a stage. Discuss this statement with reference to a named work by Giotto, commenting on subject matter, composition, style, and the techniques used in his work AND name and briefly discuss one other work by this artist. Illustrate your answer. Giotto Di Bondone was a Florentine artist who is often regarded as the father of modern painting. He was born in 1267 and studied under Cimabue, developing his use of mathematical perspective to achieve depth in paintings. Giotto broke free from the constraints of the Byzantine style of painting – flat and two-dimensional. He began to reinvent the art of his time with volume, weight, human emotions, depth and dramatic events all depicted in his paintings. No other artist dared to follow his lead and ten years after his death the plague swept across Europe, bringing pessimism and darkness that lead to a return to the rigid style of the Byzantine pre-Giotto era, until 100 years later when Massacio took up and developed Giotto’s innovations. This re- introduction of Giotto’s style drastically changed art in Europe and helped to bring about the Renaissance or “rebirth” in the 15th and 16th centuries. One piece that showcases Giotto’s ability and skill is “The Lament for Christ” (c. 1306). In this painting the subject matter, composition, style and techniques used all add to an illusion of depth and a portrayal of dramatic events as if they were happening on stage.
[Show full text]
Dante E Giotto, La Rivoluzione Del Bello La Straordinaria Invenzione Della Lingua Letteraria E Artistica Degli Italiani
Quotidiano Data 06-09-2013 LA NAZIONE Pagina 29 Foglio 1 / 2 Dante e Giotto, la rivoluzione del bello La straordinaria invenzione della lingua letteraria e artistica degli italiani ANTONIO PAOLUCCI LA PRIMA fonte di ispirazione per Dante Alighieri è la Natura, il variegato iridescente splendore del Vero visibile. C’è un breve racconto di Borges che esprime come meglio non si potrebbe il fulmineo passaggio dalla percezione visiva all’immagine poetica. È l’apologo del leopardo. C’era un leopardo prigioniero in un serraglio che piangeva la sua condizione. Abituato agli spazi sconﬁ nati della savana, al vento caldo dell’Africa, all’odore delle antilopi e delle gazzelle, si trova ora costretto in pochi metri quadrati circondato da sbarre di ferro, obbligato a girare in tondo, incessantemente, giorno dopo giorno. Il leopardo si chiedeva le ragioni di quel suo amaro destino, quale colpa avesse commesso per meritare una così ingiusta reclusione. Una notte il dio dei leopardi gli appare in sogno: «Non inutilmente tu soffri prigionia perché sei stato destinato a dare un verso al Poema». Quel leopardo viveva molti secoli orsono, LA SUA PENA, eterna, inestinguibile, è la sete e la nel serraglio del signore di Ravenna. Un giorno l’esule sete regala al Poema dei versi inobliabili: «Li ruscelletti Dante Alighieri lo vide ed ecco il verso: «Una lonza che dai verdi colli del Casentino discendon giuso in leggera e presta forte che di pel maculato era coverta». Arno, facendo i lor canali freddi e molli, sempre mi stanno innanzi, e non indarno, ché l’imagine lor vie più LA LONZA o lince (ma nell’italiano dell’epoca il termine m’asciuga che ’l male ond’io nel volto mi discarno».
[Show full text]
Giotto Also Known As Giotto Di Bondone Florentine, C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Giotto Also known as Giotto di Bondone Florentine, c. 1265 - 1337 BIOGRAPHY An artist who played a decisive role in the development of Italian painting in his century and beyond (his works were studied and copied by masters of the stature of Masaccio and Michelangelo), Giotto was probably born in Florence c. 1265.[1] According to the earlier sources, he was a disciple of Cimabue (c. 1240–1302). His earliest works, such as the painted crucifix in Santa Maria Novella and the Maestà formerly in San Giorgio alla Costa and now in the Museo Diocesano, both in Florence, and especially his biblical frescoes in the upper church of the basilica of San Francesco at Assisi, reveal the strong influence of the Roman school, both contemporary and classical.[2] It seems reasonable to suppose, therefore, that the young Giotto, a well-established painter by the time he presumably executed the abovementioned paintings (1290–1295), had spent a period of formation or apprenticeship in Rome. By the mid-1290s (although some scholars believe it to be somewhat earlier, and others later) he was commissioned to paint the cycle of stories of Saint Francis, again in the basilica at Assisi, and then to compose the great mosaic of the Navicella in the old Saint Peter’s at the Vatican. In c. 1300, Giotto returned once again to Assisi to fresco the Saint Nicholas Chapel, in the lower church of San Francesco. He then worked in the Franciscan church in Rimini, where a painted crucifix by his hand still remains.
[Show full text]