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Muestra Didactica Giotto

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Muestra Didactica Giotto MUESTRA DIDACTICA SOBRE GIOTTO Instituto Chileno-Italiano de Cultura Facultad de Bellas Artes de la Universidad de Chile MUESTRA DIDACTICA SOBRE GIOTTO 1960 - 1961 Santiago Viña del Mar- La Serena - Concepción - С и rito La "Muestra didáctica sobre Giotto" que se presenta en Chile bajo los auspicios de la Facultad de Bellas Artes de la Universidad de Chile y del Instituto Chileno-Italiano de Cultura, ha sido ideada y realizada por el Prof. Giuseppe Cardillo, Agregado Cultural de la Embajada de Italia en Chile; la señora Cecilia Echeverría de Uribe preparó las reseñas y comentarios de las reproducciones, y el presente catálogo; las ampliaciones de los frescos han sido hechas por la Casa Alinari. La "Muestra didáctica sobre Giotto", que se presenta en Chile bajo los auspicios del Gobierno Italiano, organizada por el Instituto Chileno-Italiano de Cultura y la Facultad de Bellas Artes de la Universidad de Chile, inicia un ciclo de manifestaciones que se dedicarán anualmente a los pro- tagonistas y los momentos más significativos del Arte y la Cultura Italiana. Estas Muestras se caracterizarán por utilizar y concentrar sobre un mismo tema todos los medios de estudio y comu- nicación de que se dispone hoy día y el material que se reúna en esta forma constituirá un instrumento de estudio de un nuevo tipo, válido para el gran público y para la alta cultura. Con esta finalidad se dispondrá de ampliaciones fotográ- ficas ilustradas con oportunos comentarios históricos y es- téticos, de diapositivos, films, libros y revistas, discos, fi- cheros, microfilms, y, cuando esto sea posible, de algún original. Se organizarán ciclos de conferencias, conciertos y visitas con guía; se editará un catálogo orgánico que proporcione todas las referencias posibles sobre el argu- mento. Este material será presentado según esquemas didácticos claros y precisos, ya que deberá interesar al mayor nú- mero posible de personas ayudándoles a esclarecer y for- mar las propias ideas; se destacarán los tiempos, los mo- mentos y los aspectos de los fenómenos estudiados y se dispondrán, en perspectiva jerárquica, en el gran cuadro de la historia de la civilización occidental. En lo que respecta a la presente Muestra, se le debe un agradecimiento especial a la Sra. Cecilia Echeverría de Uribe, a cuya apasionada y desinteresada colaboración se debe en gran parte su realización. G. C. SUMARIO I Giotto di Bondone. II Cronología giottesca. III Nómina de las pinturas originales de Giotto y atribuidas, y lugares donde se encuentran. IV Disputa sobre las atribuciones a Giotto. V Pinturas de Giotto desaparecidas. VI Repertorio crítico y literario. VII Reseñas y comentarios. VIII Cronología de Epoca. IX Bibliografía elemental. X Apéndice: sobre la "Canción a la Pobreza" de Giotto. "E chi piü vale, in ció piü si diletta" 'Canzone di Giotto sopra la povertá'. GIOTTO DI BONDONE Pintor, arquitecto, escultor. Nace (es incierto si cer- ca de Vespignano en Mugello, o en Florencia) en el año 1267; esta fecha se deduce de los versos del cro- nista florentino Antonio Pucci que lo ve y lo recuer- da septuagenario en 1336 (estilo común 1337), año de su muerte en Florencia. Talvez por error tipográfico Vasari muda su na- cimiento al año 1276, fecha menos probable porque deja apenas tiempo a la formación del artista antes de las obras maestras de Padova (cerca del año 1305). Se piensa también que la familia de Giotto se habría trasladado del valle del Mugello a Florencia, hacia la mitad del siglo XIII, y que él haya nacido precisamente en aquella casa paterna que los documentos sitúan en el barrio de San Pan- cracio, en el poblado de Santa María Novella; mas Vasari nos habla del nacimiento de Giotto en Colle, lugar situado en la comuna de Vespignano. En cuanto al nombre de Giotto, Joctus en latín, es probable que se trate de un diminutivo de Ambro- giotto, Angiolotto o Parigiotto. El padre de Giotto desempeñaba el oficio de herrero en Florencia hasta el año 1260. De Giotto joven no se tiene ningún conocimiento que nos permita una seria probabilidad de certidumbre. Según anónimo florentino del siglo XIV, fué colocado por el padre en el oficio de la lana, y en lugar de dirigirse a aquel trabajo, se detenía por largas horas en el taller de Cimabue "donde su naturaleza lo atraía", por lo cual el padre y por consejo de Cimabue lo lleva al taller del maestro; la fecha más acreditada de su ingreso en el taller de Cimabue, es el año 1282. Una profun- da amistad unió los nombres de dos grandes maes- 5 tros: Dante y Giotto; Dante cita a Giotto en la Di- vina Comedia como el pintor de mayor renombre en su tiempo; Giotto introduce el retrato de Dante en el fresco de la capilla del Podestá de Florencia, pin- tado alrededor del año 1334. Pocos documentos de archivos, y no todos con noti- cias relevantes para el arte, recuerdan a Giotto: en Florencia (1311, 1312, 1314, 1320), en el año 1314 se encuentra inscrito en el arte de los 'medici' y espe- cieros (farmacéuticos); en Roma, donde trabajó para el cardenal Ipólito Stefaneschi, en el año 1313 recu- peraba muebles que allí había dejado. Pero escrito- res contemporáneos señalaron la figura o indicaron allí, al menos en parte, las obras (Dante, Ricobaldo de Ferrara, Antonio Pucci, Benvenuto de Imola); luego otros trasmitieron en anécdotas el espíritu agu- do del maestro (Sacchetti, etc.), memorable por la canción a la pobreza a él atribuida. Mucho se ha discutido sobre la autenticidad de al- gunas obras de Giotto, especialmente de aquéllas que representan la Leyenda de San Francisco, en la Igle- sia superior de San Francisco en Assisi. Desde el cuatrocientos los historiadores del arte, es- pecialmente florentinos (Villani, Ghiberti, Vasari, etc.), tratando de catalogar las obras siguieron el inevitable proceso de aglomerar a las cosas más ciertas las inciertas. La crítica moderna desde G. B. Cavalcaselle se ha esmerado en buscar las obras genuinas, dando a la indagación estilística mayor peso que a la tradición, pero ha llegado a resultados diversísimos que aún se contienden el campo. De un lado se formula, con apariencia más estrecha- mente científica, pero con todos los defectos origina- dos de la aplicación rígida de un método escolástico, la doctrina rebatida por Rintelen, aceptada por Carra, repetida por Weigelt, que quiere reconocer a Giotto solamente las obras idénticas en cada cualidad a los certísimos frescos suyos en la Arena de Padova; de otro lado se opone una concepción más amplia del pro- blema crítico, se intenta coger en su devenir, como ó una conquista y no como una improvisada aparición en sí inmanente, la innovación que Giotto obró en la pintura de frente al pasado, aún Gon el peso de so- lemnes tradiciones seculares. Esencial para esta con- cepción, talvez destinada a prevalecer, es la aprecia- ción de los caracteres fundamentales de la individua- lidad de Giotto como necesariamente presentes des- de sus orígenes, y animados por el desarrollo de su arte de manera que permanecen bajo posibles cam- bios superficiales. En cuanto a su obra, Giotto fué maestro supremo en el estimular la conciencia de los valores plásticos, aquello que podría llamarse lo esencial pictórico. Es- te es su inmortal título de grandeza, y hará de su arte una fuente de altísimo placer estético. Luego de gene- raciones y generaciones de meros fabricantes de sím- bolos, ilustraciones y alegorías, Giotto descubre el sig- nificado de las cosas. En algunas de las obras de la Leyenda de San Fran- cisco parece insistir solamente en la representación plástica, tan simple es la narración o el contenido emotivo. Forma, luz, color, concurren a una sola im- presión de masa y profundidad. Al mismo tiempo, con sentido espiritual, el pintor condensa en pocos trazos el aspecto de la ciudad antigua. Giotto no cede al tono popular de la Leyenda, lo retiene, im- prime en toda su obra gravedad y claridad. En los frescos de la Arena de Padova podría destacar- se, en cuanto a la forma, la fuerza de representación de la profundidad y las masas; todo logro, subordinado y vuelto a la impresión neta de los valores plásticos; en lo íntimo que determina aquella forma se encuen- tra expresada, como cualidad suprema, la impresión profunda de los motivos psíquicos, en materias no ac- cidentales sino firmemente destacadas; son cualida- des que individualizan a Giotto entre todo otro pintor. Aquellos caracteres, afirmándose (mas no tan expre- samente) en otras pinturas, aquí dan testimonio del artista en el período en el cual liberaba su individua- lidad en el arte. 7 Giotto se manifiesta como el primer testimonio de la conciencia de un Renacimiento; Cennino Cennini nos dice que Giotto tradujo en latín el lenguaje pic- tórico que hasta entonces había sido griego, es decir bizantino. La génesis de su creación en Giotto va siempre de lo abstracto a lo concreto. Para hacer más espiritual la forma, Giotto ha renun- ciado a ornamentar sus héroes, a dar a sus grupos un valor decorativo; a la búsqueda de arabescos ha pre- ferido la estructura ideal de sus composiciones y de sus figuras. El nos coloca frente a una complejidad psicológica que antes se ignoraba; jamás quiere re- presentar el momento de la acción; al contrario, bus- ca poses que no tienen más que un movimiento po- tencial y dan a sus obras una excepcional energía de vida. Hay en él un deseo de no insistir en lo con- creto, de salvar su cualidad de abstracción obtenida por la arquitectura de la composición. Con Giotto nace una pintura que encuentra en ella misma su arquitectura y su propio valor estructural; es la autonomía de la pintura frente a la arquitec- tura.
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