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Giotto: Why Not Cimabue?

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Giotto: Why Not Cimabue? GIOTTO: WHY NOT CIMABUE? A Dissertation Presented To The Faculty Of The Department Of Art Morehead University In Partial Fulfillment Of The Requirement For The Degree Master Of Fine Arts by. Duna Verich-Combs March, 1977 APP-KY 1#JE '3ES 757.5 V511Prr Accepted by the faculty of the School of ~~ , Morehead State University, in partial fulfillmenof t he requirements for the Master of Fine Arts degree. Director of Thesis I~aster' s Com.mi ttee : ~ -/f?;/?5~ Chairman ~ J,.,.;r-,,._ (date) ILLUSTRATIONS Fi g . 1 OBELISK OF THEODOSIUS . • • . • . • . • . • • . • . • . • . • • . 8 Fig, 2 ST. AGATHONIKOS. • . • . • . • . • • 9 Fi g . 3 ODYSSEUS IN THE LAND OF CANNI BALS .. • ..•.• . ....•.. 10 Fi g . 4 ODYSSEUS I N THE LAND OF THE UNDERWORLD •...•...... 11 Fi g . 5 I•10SAIC DETAIL OF EhPRESS THEODORA. • . • . 13 Fi g . 6 BI TONTO CATHEDRALE . • . • • . • . • . • . 15 Fi g . 7 BASILICA SAN PAOLA. • . • • • 16 Fi g . 8 LA VIRGEN BLAN CA . • . • . • . 1 7 Fi g . 9 hADONNA ENTHRONED WITH FOUR ANGELS .. •. ....•..... 22 Fi g . 10 DETAIL OF ST . FRANC IS. • • . • . • • • • • . • • . • . • • • • • . • 24 Fi g . 11 THE GREAT CRUCIFIXION. • . • . • . • • • • • . • . • . 29 Fig. 12 THE AREZZO CRUC IFIX ... ......... .• , . , , ••. , • . 35 Fig. 13 11TH. CENTURY GO LD AND ENAMEL CROSS •....•........ 38 Fi g . 13a hADONNA DETAIL FROM THE AREZZO CRUCIFIX ...• • .... 41 Fig. 14 CRUCIFIX BY COPPO DI hARCOVALDO . ..•.. .. .•... .• . 43 Fi g . 15 ANGLE WITH ST. HARK .•.... •. •. • •..••. , • . • • . • . 4 5 Fi g . 16 ANGLE WITH ST. J,!A.RK • • •••••••• • ••••••••• • • • •••••• • 47 Fi g . 17 THE FALL OF BABYLON ..•.• , . • . • • . • . 48 Fi g . 18 CHRIST THE JUDGE . • . • . • . • . • . • 49 Fig. 19 RIGHT WALL OF THE ARENA CHAPEL •• .. ...........• 60 Fi g . 20 LEFT WALL OF THE ARENA C.tIAPEL .... .•. ....•..•.. • 61 Fi g . 21 PIETA. • . • . • • . 6) Fi g . 21a BUST OF A PROPHET . .•... .•. .• .•• . ....• . ••...•... 65 Fig. 22 OGNISSANTE l·1ADONNA • •••••• , •••••••••• , ••••••••••• 67 Fig. 2.3 DEATH OF ST. FRANC IS • •••• , •• , •••••••••••••.••••• 68 Fig. 24 SEATED SCRIBE FROM SAQQARA •••••.•.•••••..••••••• 74 CONTENTS ACI{N'OWLEDGflIBNTS • •••••••••••.•••••••••••••••••••• , • • • • • • • • • 111 INTRODUCTION, •...••••...•••••.•••••••• , • • • • • • . • . • • . • • • • • • • 1 PART I THE TIMES OF THE DUGENTO AND BEFORE ••••••••••••• 1 1 Life, religion, styles of the Dugento........ 1 2 Beginnings of Byzance, Romanesque, Gothic Art 6 3 Artistic climate of 1200 1 s................... 7 4 The unbyzantinizing of art ••••••••••••••••••• 12 PART II CIMABUE ENTERS THE DUGENTO •••••.•••••••••.•••••• 19 1 Cimabue 's ma.rke t place. • . • . • . • . 20 2 A look at some of his works •••••••••••••••••• 21 3 The AREZZO CRUCIFIX. • • • • • • • • • • • • • • • • • • • • • • • • • J4 4 Some more of the Assisi frescoes •••••••.••••• 44 PART III GIOTTO DIMS CIMABUE 1S LIGHT ••••••••••••••••••••• 56 1 Giotto, the lively actor on the stage of life 56· 2 Commissions for work increase •••••••••••••••• 52 3 A look at some of his works ••••••••••.••••••• 56 4 Giotto's fine Italian hand ••••••.••••••.••••• 66 PART IV A CRITICAL PERFORMANCE UPON THE WORKS OF GIOTTO. 66 1 Artistic contrasts, scientific attitude versus the sen ti mental attitude. • • • • • • • • • • • • • 69 2 Functions of painting of _the times re- directed into the personal realm •••••••• .-.... 70 PART V · GIO·TTO: NOT CIMABUE. • • • • • • • • • • • • • • • • • • • • • • • • • • • 71 PREFACE Indeed, to write on any subject, for many people, is a difficult task, even when one investigates materials before­ hand and studies the subject at length. To know what it is one must write becomes the rusty key that seems to stick in the lock, A turn here, a turn there, and the lock begins to give, but one should begin with a series of points of views, not without a start, no matter how feeble, To make a start, perhaps one should begin _with a series of points. Should the points of view described in the introduction, be writing of a logical nature and therefore be acceptable, then thanks should go-to the director of the Master's studies, Dr. William Booth of Morehead State University, The dissertation subject must a.stablish a point of view or a refinement. It must be a criticism and the writing must be a logical argument based on a set form, structure and organization, In the undertaking of investigation in the field of Art History, the student becomes discoursive in his thought as well as writing. A point of view or points of view give rise to new angles or new lights that can be played upon the matter. In continuing the 'investigation, one idea can give birth to more ideas, which in effect give~ a comples of ideas to a body of writing, The discoursive manner becomes the tool the stu­ dent can best handle since he does not attempt to solve a problem or present a solution to a problem much in the manner of the scientific investigation. Although the dissertation can have scientific instruments within for pointing up view­ points as in coming to full intent of a work quoted within, it is not the end in itself. The real attempt in 'this dissertation perhaps lies in its didactic quality -- not only for the one who reads it, but more so for the one who wishes new perceptions so that one can teach. For this insight into this dissertation, I am grateful to Dr. Booth. I am especially thankful to many others who helped me to track down books, copy the reproductions herein on the latest copy equipment, the Pikeville Library staff and their willingness to let me pitch my tent in a pleasant corner, to Sue Burch~tt,·who in the true artistic sense, sets to order what appears to be unreadable writing. Dun,. Combs Giotto: Why Not Cimabue? Duna Verich-Combs M.A. Morehead University, 1977 Director ·of Dissertation: William R. Booth, Ph.D. The dissertation problem deals with an investigation into the works, lives, times of the artists Cimabue and Giotto in order to find what place each occupies in the History of Art. The problem stems from an early interest in the work of Cima­ bue, more specifically, the AREZZO CRUCIFIX and an early de­ sire to find out more about this magical sounding name. It was appended to a new vision of art for the time in which Giotto lived. Also, ·: ';. havi~g nurtured a warm interest in the work of Giotto, I felt it could be of didactic importance to my growth by finding out. why history gave to Giotto such effulgent marks. With these didactic goals in mind, I chose with persis- tent but gentle authoritative guidance, the dissertation topic. I learned that the essay which invited points of view would best suit the purpose rather than scientific inquiry. The points of view also fit the creative part of my being since they became, in essence, the tools within my reach at the start. The artist part of me understood that in order to create, one must make a beginning. Initially the points of view gave rise to new angles and lights that could be played upon the essay matter which needed only the shape and form the mind was willing to give·. Also, .since travel to the original centers in which the works of art hang could not be undertaken, I had to,choose a historiographical specialism (identification of photographs of the, real works of art), but I feel justified in that my investigation was. in the social and personal function domain. The sources of data are the many writings that were available to the writer through the inter-library loan service, Since this was not a research in the scientific inquiry manner, this writer was bent on an axis that would permit her to attain knowledge that would scan the contradictions as well as gaps in what was available, Initially what •is·lacking are the ori­ ginal inquiries (and·JBattisti compiled some 475 writings, parts of as well as wholes), it was found later that Eugenio Battisti, an Italian scholar, had fairly well combed the sources that had preceded his critical performance. Even ·so_, in those astute writings, by Longhi, Oertel, Rogghianti, Salmi, Salvini (this writer investigated. only Salvini directly), Battisti states that they did not pursue or plunge into what the most recent writer, with new options, can do, So in effect, the years of time can make ingenious that which has not reached into the future. The major findings were new for me and they encompassed these effects that monastic rule~ liberal patronage, restrained nobility, natural precociousness, material elements, passage of time, social mores, cultural differen.ces, real critical perfor­ mance, sentimental judgments, and scientific inquiry can have on the person's creation, I found also that these effects leave immutable marks upon their words, In the conclusion it was Giotto who continued to occupy that hallowed place in history, but not, however, without g iving warm accommodation to Cimabue . Cimabue was duly given that shelter thru the exhaustive efforts of Battisti who in his summation said, 11 Cimebue is truly the greatest representative if at least one crucial period of civilization. 11 How he became representative of that time is brought out by this researcher ' s last statement which gives to Cirnabue something of noble worth. For Cimabue, through his paintings, 11 gave to man something man didn ' t have before, a chance at his finest thoughts and em otions. 11 Accepted by : ADDITIONAL ACKNOWLEDGMENTS Since Dr. William Booth, my graduate studies director, continued to encourage the dissertati_on, this writer feels· she now realizes why. The dissertation allows the student of Art History to discourse (at length, in depth) about that which he proposes to write. The writer has liked the word discourse ever since she has read that at Cardinal Farnese•s levees, the Cardinal would always wait for his educated guests to open up and he would turn: his dark, handsome head •••. to their rather lengthy speeches (for as is customary with the erudite they discoursed rather than con- versed). He listened with evident pleasure.
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