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GIOTTO di Bondone
Italian Early Renaissance Painter, 1267-1337
Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.
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Daedalus after
1334 Marble Museo dell'Opera del Duomo, Florence In Greek mythology Daedalus stands as a creative worker at the beginning of all art: Daedalus, the inventor of the labyrinth and of flying, is supposed to have been the first successfully to create a sculpture with arms akimbo and parted legs. Since he is thus supposed to have given life to figures for the first time, he is considered as the very first artist. The design of this relief, though not its execution, derives from Giotto. It shows Daedalus in a striding posture on top of a cupola that acts as a launching pad. All of his energy seems directed towards lifting his heavy, feather-covered body into the air. This concentration of energy corresponds to the energy of Giotto's painted figures. With one exception, this is the only portrayal of Daedalus to exist between the era of ancient Rome and the age of the Renaissance. Artist: GIOTTO di Bondone Painting Title: Daedalus , 1301-1350 Painting Style: Italian , , religious
Painting ID:: 62955
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Daedalus_after
1334 Marble Museo dell'Opera del Duomo, Florence In Greek mythology Daedalus stands as a creative worker at the beginning of all art: Daedalus, the inventor of the labyrinth and of flying, is supposed to have been the first successfully to create a sculpture with arms akimbo and parted legs. Since he is thus supposed to have given life to figures for the first time, he is considered as the very first artist. The design of this relief, though not its execution, derives from Giotto. It shows Daedalus in a striding posture on top of a cupola that acts as a launching pad. All of his energy seems directed towards lifting his heavy, feather-covered body into the air. This concentration of energy corresponds to the energy of Giotto's painted figures. With one exception, this is the only portrayal of Daedalus to exist between the era of ancient Rome and the age of the Renaissance. Artist: GIOTTO di Bondone Painting Title: Daedalus , 1301-1350 Painting Style: Italian , , religious
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Baroncelli Polyptych
1334 Tempera on wood Baroncelli Chapel, Santa Croce, Florence Mary bows her head reverently in order to receive the celestial crown from the hands of her Son. Mother and Son form a whole through their gestures, but mainly through their garments: both are clothed in radiant bright white and pink worked through with gold. The elegance of their clothing, in particular the trumpet-shaped sleeves on Christ's robe, indicates a great affinity with the style of courtly Gothic. Artist: GIOTTO di Bondone Painting Title: Baroncelli Polyptych (detail) , 1301-1350 Painting Style: Italian , , religious
Painting ID:: 62956
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Baroncelli_Polyptych
1334 Tempera on wood Baroncelli Chapel, Santa Croce, Florence Mary bows her head reverently in order to receive the celestial crown from the hands of her Son. Mother and Son form a whole through their gestures, but mainly through their garments: both are clothed in radiant bright white and pink worked through with gold. The elegance of their clothing, in particular the trumpet-shaped sleeves on Christ's robe, indicates a great affinity with the style of courtly Gothic. Artist: GIOTTO di Bondone Painting Title: Baroncelli Polyptych (detail) , 1301-1350 Painting Style: Italian , , religious
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Madonna and Child
1297 Tempera on wood Private collection This panel was painted for a chapel in the church Santa Maria sopra Minerva in Rome. Artist: GIOTTO di Bondone Painting Title: Madonna and Child , 1301-1350 Painting Style: Italian , , religious
Painting ID:: 62957
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Madonna_and_Child
1297 Tempera on wood Private collection This panel was painted for a chapel in the church Santa Maria sopra Minerva in Rome. Artist: GIOTTO di Bondone Painting Title: Madonna and Child , 1301-1350 Painting Style: Italian , , religious
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Last Judgment
1306 Fresco, 1000 x 840 cm Cappella Scrovegni (Arena Chapel), Padua This extensive depiction of the Last Judgment in the west of the church is dominated by the large Christ in Majesty at its centre. The twelve apostles sit to His left and to His right. Here the two levels divide: the heavenly host appears above, people plunge into the maw of hell below, or are led by angels towards heaven. The way this large fresco is divided into registers is traditional. But if we look at Giotto's invention in detail, then his novel attempts at visualizing different spheres, as well as abstract beliefs, become particularly apparent. In the center of the representation, Christ is enthroned as supreme Judge in a rainbow-colored mandorla. The deep, radiant gold background, the style of painting, and the delicate substance give the impression that the heavens have opened in order to reveal the powerful, extremely solidly modelled figure of Christ. Different levels are likewise alluded to when the choirs of angels disappear behind the real window, or when the celestial watch in the upper area of the picture rolls back the firmament, behind which the golden-red doors of the heavenly Jerusalem shine forth. The black and red maw of hell, which seems to anticipate Dante's "Inferno", is different again in its impact. The way in which Giotto establishes a connection between the present-day world of the faithful and the world beyond all time, the world of the Last Judgment, contains another interesting detail. The donor Scrovegni, still alive at the time, kneels next to those being resurrected and offers "his" church to the three Marys, assisted by a priest. The latter is portrayed in a most lively manner: his robes hang - painted quite illusionistically - over the arch of the portal. Artist: GIOTTO di Bondone Painting Title: Last Judgment , 1301-1350 Painting Style: Italian , , religious
Painting ID:: 62959
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Last_Judgment
1306 Fresco, 1000 x 840 cm Cappella Scrovegni (Arena Chapel), Padua This extensive depiction of the Last Judgment in the west of the church is dominated by the large Christ in Majesty at its centre. The twelve apostles sit to His left and to His right. Here the two levels divide: the heavenly host appears above, people plunge into the maw of hell below, or are led by angels towards heaven. The way this large fresco is divided into registers is traditional. But if we look at Giotto's invention in detail, then his novel attempts at visualizing different spheres, as well as abstract beliefs, become particularly apparent. In the center of the representation, Christ is enthroned as supreme Judge in a rainbow-colored mandorla. The deep, radiant gold background, the style of painting, and the delicate substance give the impression that the heavens have opened in order to reveal the powerful, extremely solidly modelled figure of Christ. Different levels are likewise alluded to when the choirs of angels disappear behind the real window, or when the celestial watch in the upper area of the picture rolls back the firmament, behind which the golden-red doors of the heavenly Jerusalem shine forth. The black and red maw of hell, which seems to anticipate Dante's "Inferno", is different again in its impact. The way in which Giotto establishes a connection between the present-day world of the faithful and the world beyond all time, the world of the Last Judgment, contains another interesting detail. The donor Scrovegni, still alive at the time, kneels next to those being resurrected and offers "his" church to the three Marys, assisted by a priest. The latter is portrayed in a most lively manner: his robes hang - painted quite illusionistically - over the arch of the portal. Artist: GIOTTO di Bondone Painting Title: Last Judgment , 1301-1350 Painting Style: Italian , , religious
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Moses Brings Forth Water out of the Rock
1304-06 Fresco Cappella Scrovegni (Arena Chapel), Padua The medallion showing Moses brings forth water out of the rock is at the left side of the Marriage at Cana. Artist: GIOTTO di Bondone Painting Title: Moses Brings Forth Water out of the Rock (on the decorative band) , 1301-1350 Painting Style: Italian , , religious
Painting ID:: 62960
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Moses_Brings_Forth_Water_out_of_the_Rock
1304-06 Fresco Cappella Scrovegni (Arena Chapel), Padua The medallion showing Moses brings forth water out of the rock is at the left side of the Marriage at Cana. Artist: GIOTTO di Bondone Painting Title: Moses Brings Forth Water out of the Rock (on the decorative band) , 1301-1350 Painting Style: Italian , , religious
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GIOTTO_di_Bondone
Italian Early Renaissance Painter, 1267-1337
Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.
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ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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