DOCSLIB.ORG

Giotto and His Works in Padua, Being an Explanatory Notice of The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Giotto and His Works in Padua, Being an Explanatory Notice of The 4 > ML<©ir U R T « Off J M 'v*f,m'- r JjlHlu . Jff 1»»7 AITES S C I E N T I A V*k'kfctffcl ^ GIOTTO AND HIS WORKS IN PADUA GIOTTO AND HIS WORKS IN PADUA BEING AN EXPLANATORY NOTICE OF THE FRESCOES IN THE ARENA CHAPEL JOHN RUSKIN, LL.D., D.C.L. HONORARY STUDENT OF CHRIST CHURCH, AND HONORARY FELLOW OF CORPUS CHRISTI COLLEGE, OXFORD WITH ILLUSTRATIONS GEORGE ALLEN, SUNNYSIDE, ORPINGTON AND 156, CHARING CROSS ROAD, LONDON 1900 [All rights reserved] C / IOO Printed by Ballantyne, Hanson &= Co. At the Ballantyne Press Starve fc EDITORIAL NOTE, 1899. This work owes its existence to the Arundel Society, who in the years 1853-60 issued a series of thirty-eight large woodcuts, repro- ductions of the majority of the frescoes in the Arena Chapel at Padua. These appeared gradually, and as they were completed, Mr. Ruskin's " explanatory notice " of them was also gradually written, and published by the Society. Ultimately the work consisted of two volumes, viz., first, a large atlas con- taining, with a title-page and list of subjects, the thirty-eight woodcuts, and secondly, a thin volume (post 8vo) containing Mr. Ruskin's introduction and account of the frescoes, to- gether with two plans of the chapel, and a woodcut of the Baptism of Christ from a — VI EDITORIAL NOTE. thirteenth century missal.* The title-page of the volume of illustrations was also decorated with a vignette of a portion of the fresco of "The Last Judgment." The work, which has never been republished, now appears in a new and more complete form, * The title-page to the volume containing the text was as follows : — " Giotto / and his Works in Padua : / being / An Ex- planatory Notice of the Series of Woodcuts / Executed for the Arundel Society / after the Frescoes in the Arena Chapel. / By John Ruskin. / Printed for the Arundel Society. / 1854." This date is scarcely accurate, the work having appeared in three Parts, I. containing the introduction and account of frescoes 1-14 in 1853 (pp. 1-74); II. containing the ac- count of frescoes 15-24 in 1854 (pp. 75-96) ; and the part (pp. 96-124) forming Part III., and dealing with frescoes 23-38, i860. This last part being exhausted, it was re- printed (June 1877) by the Society, and the whole issued as one volume. The woodcuts of the frescoes were also gradually issued. The first fourteen are dated 1853; the next eight (15-23) 1854 ; after which Nos. 24-26 bore date 1855 ; Nos. 27-28, 1856; Nos. 29-30, 1857; Nos. 31-34, 1858; Nos. 35-36, 1859; and Nos. 37-38, i860. The title-page ran as follows : 11 Arena Chapel Padua. / A Series of Wood Engravings from of / The Frescoes Giotto, / Illustrating the Lives of / The Virgin and our Saviour / Accompanied by an Ex- planatory Notice written by / John Ruskin / Arundel Society / i860. ; EDITORIAL NOTE. Vll with the advantage of modern methods of reproduction. The woodcuts of the Arundel Society were from drawings of the frescoes the present illustrations are from photographs of the frescoes themselves. Both methods fail, of course, in some instances. Thus in the old woodcuts the copyist occasionally missed a fact, or failed to catch an expres- sion, or give some detail, as, for instance, in No. IV. where he has not given the male figure rising from the flames of the altar, and in No. XXVI. where he has omitted the scourge in the hand of Christ. The illustrations in the present volume give every detail, with the fulness and accuracy of a photograph. They fail sometimes to give the tone,—a dark blue background, for in- stance, appearing in a lighter tone, as in Nos. X. and XII.,—and they necessarily suffer from the great reduction in size.* When, however, it is remembered that the figures in * The woodcuts of the Arundel Society were about twelve inches square, printed on sheets nearly twice that size. Each — Vlll EDITORIAL NOTE. the original frescoes are life-size, and that the present reproductions are reduced from photographs of the frescoes some five times as large as the reproductions, there must be rather surprise at their adequacy than com- plaint of any failure. They have in each case been carefully com- pared both with the larger photograph and the old woodcut, and, while the text of the book remains quite unchanged,* notes have now and again been added by the editor, calling attention to matters of detail, or to some point not noticed by Mr. Ruskin, who wrote with the woodcut and not the fresco before him. A full index is also added. For another reason the present edition is more complete than the old one. The publi- cations of the Arundel Society contain no woodcuts of—and only a bare reference to plate was numbered at the top, and lettered with its titles " and the words, Giotto //«# ... IV. O. Williams del . Dalzielfratres fee" * At p. 12 a misprint, " Boniface IX.," has been corrected to "Benedict IX." EDITORIAL NOTE. IX the frescoes of " Christ in Glory," " The Last Judgment," and the fourteen Virtues and Vices. These are all now reproduced, the " Christ in " Glory as a frontispiece (see p. 5 3 n.) and the rest in an Appendix, together with a brief explanatory notice of each fresco, as given by Lord Lindsay in his Christian Arty and by Mr. Ruskin himself either in the Stones of Venice, or, later, in Fors Clavigera and Val d'Arno. It is, therefore, hoped that this volume is a complete and worthy record of the chapel which has been described as "-not only the most perfect expressional work, but the prettiest piece of wall decoration and fair colour in North Italy." * * Stones of Venice, vol. i., App. 15. AUTHOR'S NOTE TO THE FIRST EDITION (1854). THE following notice of Giotto has not been drawn up with any idea of attempting a history of his life. That history could only be written after a careful search through the libraries of Italy for all documents re- lating to the years during which he worked. I have no time for such search, or even for the examination of well-known and published materials; and have therefore merely col- lected, from the sources nearest at hand, such information as appeared absolutely necessary to render the series of Plates now published by the Arundel Society intelligible and interesting to those among its Members who have not devoted much time to the Xll AUTHORS NOTE. examination of mediaeval works. I have prefixed a few remarks on the relation of the art of Giotto to former and subsequent efforts ; which I hope may be useful in preventing the general reader from either looking for what the painter never intended to give, or missing the points to which his endeavours were really directed. J. R. CONTENTS. PAGE Editorial Note, 1899 v ACtthor's Note, 1854 xi List of Illustrations xv Introduction 1 Series of Subjects 58 Appendix 165 Index 195 LIST OF ILLUSTRATIONS. Christ in Glory Frontispiece The Rejection of Joachim's Offering To face page 64 ^ ^ Joachim retires to the Sheepfold . ., ,, 66 The Angel appears to Anna . ., ., 68^-" The Sacrifice of Joachim . ,, ., 73 v The Vision of Joachim „ ,75 '0 The Meeting at the Golden Gate . „ ,76 The Birth of the Virgin . ,78 The Presentation of the Virgin . „ ., 81 Priest The Rods are brought to the High „ ,, 83 , The Watching of the Rods „ „ 85 The Betrothal of the Virgin „ „ 87 © The Virgin returns to her House . „ ., 90 v The Angel Gabriel „ ,,92 The Virgin Annunciate . „ U 94 The Salutation „ „ 97 \S The Angel appearing to the Shepherds (The Nativity) „ „ 99 LIST OF ILLUSTRATIONS. The Wise Men's Offering . To face page IO5 The Presentation in the Temple r? 55 I07 Flight into I The Egypt )? >} IO The Massacre of the Innocents ?) 55 113 The Young Christ in the Temple 5? 9? Il6 Baptism of Christ The 5? )? ii8y The same from an MSS., 1290 ?? 5? 119 The Marriage in Cana 55 )) 124 The Raising of Lazarus . » 51 127 D The Entry into Jerusalem :? " 129 The Expulsion from the Temple 5? 5? 131 Hiring The of Judas 5? ;> !33 The Last Supper 5' ;? 135 The Washing of the Feet » 139 The Kiss of Judas . r 141 Christ before Caiaphas . 51 -i 144 The Scourging of Christ . •5 u 145 Christ bearing His Cross 5> 5> 147 The Crucifixion 150 v/ The Entombment . 5) 5J The Resurrection 154 «/ The Ascension 5? ;j 157 The Descent of the Holy Spirit » ?J 159 LIST OF ILLUSTRATIONS. XV11 APPENDIX. The Last Judgment . Toface page 169 Angels delivering the Chapel to Enrico Scrovegno . „ „ 17° THE VIRTUES. Prudence 172 Fortitude 174 Temperance 175 Justice 176 Faith 179 Charity 180 Hope 182 THE VICES. Despair 184 Envy 185 Infidelity 187 Injustice 188 Wrath 191 Inconstancy 192 Folly 193 GIOTTO AND HIS WORKS IN PADUA. i. TOWARDS the close of the thirteenth century, Enrico Scrovegno, a noble Paduan, purchased, in his native city, the remains of the Roman Amphitheatre or Arena from the family of the Delesmanini, to whom those remains had been granted by the Emperor Henry III. of Germany in 1090. For the power of making this purchase, Scrovegno was in all probability indebted to his father, Reginald, who, for his, avarice, is placed by Dante in the seventh circle of the Inferno, and regarded apparently as the chief of the usurers there, since he is the only one who addresses Dante.* The son, having * « ' Noting the visages of some who lay " Beneath the pelting of that dolorous fire, 11 perceived One of them all I knew not ; but " That pendent from his neck each bore a pouch, A 2 GIOTTO AND HIS WORKS IN PADUA.
Load more

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]
  • Rome Festive Welcome Dinner with Drinks and Music!
    FRA NOI’S TREASURE HUNT OF ROME AND FLORENCE October 16-25, 2015 OCTOBER 16 (depart from US) OCTOBER 17 – ROME FESTIVE WELCOME DINNER WITH DRINKS AND MUSIC! OCTOBER 18 – ROME Morning: Our adventure starts at the foot of the Capitoline Hill, the site of major temples in ancient Roman times. From the back of the Capitoline we have a great overview of the Roman Forum, the political heart of ancient Rome. Then it’s on to the Colosseum, where our reserved tickets allow us to bypass lines. Afternoon: We begin our afternoon at the Pantheon, the best preserved of all imperial Roman buildings. From there, we walk to the Trevi Fountain, and on our way back we can stop to admire the spectacular ceiling paintings in the churches of San’t Ignazio and Il Gesù. OCTOBER 19 - ROME Morning: The bus leaves us near the entrance to the piazza in front of St. Peter’s Basilica. We walk across the piazza, enter the world’s largest church, and take a turn around the enormous interior, viewing Michelangelo’s Pietà and the two great Bernini altars: the Baldachino and the Chair of Peter. From there we walk past Castel Sant’ Angelo, originally the tomb of the emperor Hadrian, and across the Ponte Sant’ Angelo, lined with Bernini statues nicknamed “Bernini’s Breezy Maniacs,” due to their wind-blown appearance. Afternoon: We explore the Catacombs of Priscilla, among the oldest of Rome’s underground cemeteries used by the city’s early Christians. OCTOBER 20 – ROME/SORRENTO Morning: We start our day at Villa Borghese.
    [Show full text]
  • Art As Power: the Medici Family As Magi in The
    ART AS POWER The Medici Family as Magi in the Fifteenth Century The Medici family of the Italian Renaissance were portrayed in works by Benozzo Gozzoli and Sandro Botticelli as Magi, the venerated figures from the new testament who were the first gentiles to recognize Jesus’ divinity. In doing so, the family transformed their desire for power into the physical realm and blurred the boundary between politics and religion. By Janna Adelstein Vanderbilt University n the middle of fifteenth-century Florence, the Medici it the Virgin Mary after the birth of her son, Jesus Christ. were at the height of their power and influence. Lead Often, the Medici would commission the artist to present by the great Cosimo, this family of bankers resided in various family members as the Magi themselves, melding Ithe heart of the city. Their unparalleled financial and soci- religious history and their contemporary world. This bib- etal status was measured in part by a consistent devotion to lical trio was held in high esteem by the family due to the the arts. This patronage is appraised through the Medicis’ family’s involvement in the confraternity the Compagnia close relationships with their favorite artists, such as Ben- de’ Magi, which was dedicated to the group. I will argue in ozzo Gozzoli and Sandro Botticelli, who often lived in the this paper that through an analysis of paintings in which Palazzo de Medici and enjoyed personal relationships with the family is depicted as these biblical figures and the Medi- members of the family. As was customary for art of the time, cis’ involvement in the Compagnia de’ Magi, we can begin many of the works commissioned by the family featured the to uncover why Cosimo desired to align himself with the biblical trio of the Magi, who were the first people to vis- Magi, and the political consequences of such a parallel.
    [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]
  • Benozzo Gozzoli, Florentine School
    THE J. PAUL GETTY MUSEUM LIBRARY Digitized by the Internet Archive in 2016 https://archive.org/details/benozzogozzoliflOOunse : MASTERS IN ART BRAUN’S ^m^jffllu9tratEd-iIipnojarapl)3 CARBON PRINTS Among the artists to be considered during the current, 1905, Volume may be mentioned Fra Filippo Lippi, Sir Henry Rae- burn, Claude Lorrain, Memlinc, and Verrocchio. The num- FINEST AND MOST DURABLE 1 bers of 4 Masters in Art which have already appeared in 1905 are IMPORTED WORKS OF ART Part 61, JANUARY WATTS Part 62, FEBRUARY . PALMA VECCHIO Part 63, MARCH MADAME VIGEE LE BRUN NE HUNDRED THOUSAND direct Part 64, APRIL MANTEGNA Part 65, MAY . CHARDIN ^^reproductions from the original paintings Part 66, JUNE . BENOZZO GOZZOLI and drawings by old and modern masters in the PART 67 , THE ISSUE FOR galleries of Amsterdam, Antwerp, Berlin, Dres- fuly den, Florence, Haarlem, Hague, London, Ma- WILL TREAT OF drid, Milan, Paris, St. Petersburg, Rome, g>tcrn Venice, Vienna, Windsor, and others. 3lan Special Terms to Schools. NUMBERS ISSUED IN PREVIOUS VOLUMES OF ‘MASTERS IN ART’ BRAUN, CLEMENT & CO. VOL. 1. VOL. 2. 249 Fifth Avenue, corner 28th Street Part 1 —VAN DYCK Part 13. —RUBENS Part 2 —TITIAN Part 14- —DA VINCI NEW YORK CITY Part 3 — VELASQUEZ Part I 5- — DURER Part 4 — HOLBEIN Part 16. — MICHELANGELO* Part 5 — BOTTICELLI Part 17. — MI CHELANGELOf Part 6 —REMBRANDT Part 18. —COROT Part 7 —REYNOLDS Part 19- —BURNE-JONES Part 8 — MILLET Part 20. —TER BORCH Part 9 — GIO. BELLINI Part 21. —DELLA ROBBIA Part 10 —MURILLO Part 22. —DEL SARTO Part 11 —HALS Part 21- —GAINSBOROUGH Part 12 —RAPHAEL Part 24.
    [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]
  • Picture Study
    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.
    [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]