Image Essay- Giotto

An altar piece commissioned for the Santa Maria Novella, The Rubella Madonna, standing 12 feet tall piece comes from Siena painted by Duccio. this show the Sienese style, the pattern in the drapery and decoration on the throne are elements that aren’t found in Florentine painting.

Madonna and Child

The Rucellai Madonna

Duccio (1285-1286),

Tempera on panel,

177 x 114" Uffizi,

https://www.khanacademy.org/humanities/renaissance-reformation/late-gothic-italy/siena-late-gothic/v/duccio-the-rucellai-madonna-1285-86

Giotto's paintings were fresh looks on outdated masterpieces. Giotto created space, through the angled architecture hinting towards perspective, Foreshortening, and the layering of figures.

The byzantine influence shows in the depiction of the figure the hand is stretched and painted less realistically, the attention and detail draw the viewer into the piece to see the beautiful marks in the clothing.

The Old Testament prophets from below in the Cimabue, are the top figures around the throne in Giotto's. Two of the faces are framed by the throne, “suggesting that the painting is a window to look into and through. A painting is a frame in which we can enter with our eyes” (Dr. Steven Zucker)

Giotto lead the way for renaissance painters, and to lead the way, he looked back to his Master Painter. This painting was modeled off Cimabue’s Santa Trinita. Cimabue was a mentor to Giotto from an early age. This painting comes from the tradition of Ognissanti in Florence.

The colors in this piece are varied and vibrant. The lapis lazuli and gold are expensive material and that shows the wealth of patron and the skills and craftsmanship of the artist. The byzantine influence shows in the depiction of the figure the hand is stretched and painted less realistically, the attention and detail draw the viewer into the piece to see the beautiful marks in the clothing.

Ognissanti Madonna

Giotto (1300-1305)

Tempera on wood, gold background, 325 x 204 cm

https://www.uffizi.it/en/artworks/virgin-and-child-enthroned-surrounded-by-angels-and-saints-ognissanti-maesta

The throne tilts in space and the angels are stacked on top of one another heads. The Madonna and Child are calm. The baby Jesus is infant sized but has a great head of hair and much older face. This is to show wisdom and respect towards infant Jesus. The tradition of the blue robe, architectural throne, angels, and prophets all appear in the next two pieces. An important question to ask when looking at a Madonna and Child is, how did this artist approach an image with a rich history and tradition and make it their own? The changes they make become advancements in the science behind art.

Mother Mary and a young Jesus are traditional religious imagery. The Madonna and Child are usually depicted in a blue robe, surrounded by angels, saints, or patrons. All three of these Madonna’s are seated on a throne like structure. All three of these Madonna and Child's are on display side by side in the Uffizi museum in Florence, Italy.

Madonna and Child

This piece originally hung in Santa Trinita It stands at 12 feet tall, and would be palced behind an altar. The gold represents the light in heaven.

The perspective of us, the viewer, when viewing the piece becomes important and artists are thinking about the interaction between art and person. The floor and steps are visible but the roof of the architectural throne is also visible, Meaning the viewers correct vantage point is when Mary is looking into our eyes., jsut below Christ.

Painting hierarchical figures was traditional in representing important, religious or focal figures. The skins tones are more human and there is modeling to create form within the figures. The blue cloak around Mary gives balance weight to the figure down giving her a grounded feeling, a more realistic and human approach. This piece helps to uncover of the tricks we know as linear perspective.

There is a space that contains Mary, and the step shows perspective, but that is contradicted from the space the contains the Old Testament prophets below. Symbolically they built the foundation and foretold the arrival of Christ and are visually the foundation of the Madonna and Child. A subtly modeled Mary gestures as if she is presenting Christ and showing that though her son, is the pathway to heaven. The child Christ doesn’t look like an infant, he is shown with wisdom and peace.

Maesta of Santa Trinita

Cimabue (1280 - 1290)

Tempera on panel, 151 1/2 x 87 3/4" Uffizi,

https://www.khanacademy.org/humanities/renaissance-reformation/late-gothic-italy/florence-late-gothic/v/cimabue-maesta-of-santa-trinita-1280-900-1290

This was created with the influence of the Byzantine traditional. He used decoration to hint to volume and perspective. The angels on the side become layered to give the illusion of depth but the head are all still visible almost as if they stand on stairs. I see the throne in the air, supported by the angels.

Architecture & Composition

After three days they found him in the temple courts, sitting among the teachers, listening to them and asking them questions. [47] Everyone who heard him was amazed at his understanding and his answers. [48] When his parents saw him, they were astonished. His mother said to him, "Son, why have you treated us like this? Your father and I have been anxiously searching for you."

[49] "Why were you searching for me?" he asked. "Didn't you know I had to be in my Father's house?" [50] But they did not understand what he was saying to them.

[51] Then he went down to Nazareth with them and was obedient to them. But his mother treasured all these things in her heart. [52] And Jesus grew in wisdom and stature, and in favor with God and men.

Luke 46-52

Christ among the Doctors

Giotto (1304-1306)

Fresco, Scrovegni (Arena) Chapel, Padua, Italy

200 x 185 cm

https://www.wikiart.org/en/giotto/christ-among-the-doctors

Christ and the Samaritan Woman

Duccio di Buoninsegna (1310-1311)

Tempera and gold on panel. 43.5 x 46 cm

This panel was an altar piece for the Sienna Cathedral. The back ground of gold respects the traditional Byzantine and the architecture explores the Late Gothic elements. This style combination follows in line with Giotto’s school of thought. The innovative aspect is the architecture. This is evidence of Giotto’s influence on his contemporaries and in art history. Here were see ornate architecture and figure with volume and space a defined background and foreground, and Figures interacting within the same scene. Also, three quarter angled figures to further the illusion of form and space. All elements the Giotto explored in his work.

Found in the Arena Chapel, a scene from the Life of Christ, this shows Jesus in his adolescence, of which there is very few scripture about. This was a turning point in in Jesus life when he began to demonstrate his knowledge and understanding, and potential. Which would be an important scene when portraying Jesus’ life. Artists since to also recreate this moment are Da Vinci, Dürer, Jean Auguste Dominique Ingres, etc.

Work created Proto Renaissance and throughout were religious themed. These paintings depict a moment in the life of Christ. What is notable is the architecture in Christ among the Doctors by Giotto, he pushed the depiction of space and refined the cannon of architecture. And the similar compositions between Duccio and Giotto's Lamentation.

Architecture & Composition

Lamentation (The Mourning of Christ)

Giotto (1305)

Fresco, Arena (Scrovegni) Chapel, Padua , Italy

These figure express grief and sorrow through their faces and body language, these figures become real with weigh and depth. The variation in the figures positioning echoes back into the composition. All eyes are looking towards Jesus, so naturally we as the viewer look to what the eyes are focused on. Then the tilt of his face leads your eyes up towards the dead tree then flutters around the twisted forms of angels grieving. The figures with their backs to us perfectly leave space for us while putting the viewer into the scene naturally.

Christ is being remove from the cross is called the Lamentation. This piece has emotion and interaction between the figure all within a share space. The rocky setting and the dead tree are a repetition of the death. The rock points line straight between the dead tree and Christ. This might even be an early use of atmospheric perspective with the dimming blue rock forms in the horizon.

Last Supper

Last Supper

Giotto (1320-1325)

Fresco, Germany, Munich

http://www.the-athenaeum.org/art/detail.php?ID=35055

Last Supper

Cimabue (1280)

https://upload.wikimedia.org/wikipedia/commons/b/b4/Cerchia_di_cimabue_o_artista_senese%2C_ultima_cena_di_new_orleans_01.jpg

This is Cimabue’s interesting depiction of the Last Supper; the viewer is above the table and half of the figure’s. The disciples and Jesus are seated in the round, and both of the following artists show influence of Cimabue and compose their table with the figures around. This is an early example of figures turned filling an entire narrative scene with dynamic space.

Giotto’s latter Last Supper. There interior scene is different, the issues with the interior covering the subject matter have been solved. There is ornate patterning on the cabinets above. Jesus is the only Figure on the end of the table, the viewer can identify him as Christ, but it isn’t as apparent. What really stands out is the emotion and the warmth to the piece. This begins to look like the modern Last Supper and is still today easily identifiable.

The Last Supper is one of the most iconic scenes from the Bible, and of course an important religious scene to painters. These paintings show difference in composition but there are threads of influence in each showing the tradition in painting the Last Supper.

Last Supper

The Last Supper

Duccio (1308 - 1311) wood, tempera,

https://www.wikiart.org/en/duccio/the-last-supper-1311

The Last Supper

Giotto (1304-1306)

Fresco, 200 x 185 cm

Scrovegni Chapel, Padua, Italy

http://www.the-athenaeum.org/art/detail.php?ID=34965

Duccio’s painting begins to model what becomes the canon for the Last Supper. Jesus is the centered figure and is looking at the viewer. The figures are realistic and emotive. The figures around the table but the back row parallel with the horizon line. The interior is a chance to add ornate modular decoration like coffers on the ceiling. There is a mixed perspective of linear perspective and an almost birds eye view over the table. There almost seems to be a hierarchy of disciples, with John leaning on Jesus shoulder, while Jesus offers Judas bread. What’s interesting is the artistic decision to revert back to the bird eye view of the table in order to show the food, drink, knives and bowls on the table.

Giotto’s earlier Last Supper also places the round. The perspective is lower, and it looks more natural. Here we see the figures are indoors in a clearly rendered building, although there is no between and right wall. Jesus is clearly recognizable with the gold halo versus the Disciples’ black halos. And the narration and emotion are present, John is leaning on Jesus’ shoulder. There other’s mummer is shock. Judas dip his hands into the water at the same time as Jesus exposing his betrayal, causing his halo to fade.

Crucifixes

Crucifix

Giotto ( 1310-17 )

Tempera on wood, 430 x 303 cm

Tempio Malatestiano, Rimini

Standing at 19 feet high, this earlier altar piece of Giotto’s is outstanding and revolutionary. This body of Christ is visually real and has volume. The head hangs in tradition but the face contains volume and demonstrates Giotto’s quest for realism. The proportion are correct, but he also uses some artistic license to stretch the arms. This gives tension and weight to the figure. That stretch and deliberate distortion also contributes to the emotions of Jesus. Giotto limited the use of gold-leaf to the halo and the frame, showing another deviation from the byzantine style, and Giotto’s ever experimental mind. Due to the size of this piece, the photos don’t do this piece justice. Jesus alone is 10 feet tall, this would be mesmerizing in person, especially in 1300.

Crucifix (on display)

Cimabue (1287-1288)

Crucifixes

The crucifixion of Christ is the most important part of the Bible, its an event foreshadowed may times in the bible and is the gateway in the Christianity and heaven. These pieces would be altarpieces and could stand up to 14 feet tall. They serve as a reminder when looking at the alter of the ultimate sacrifice Jesus make for all of mankind.

The Crucifixion

Giotto (1317)

Tempra on wood,

Museo Civico, Padua

http://www.giottodibondone.org/Crucifix-1317.html

One of the two crucifixes attributed to Cimabue, we see the traditional depiction Jesus on the cross, on a grand scale as an altar piece. This serves as a daily reminder to believers of the ultimate sacrifice. This piece can be used as an educational tool, like many of the artwork from this era. This piece pushed beyond the byzantine style and strived for a realistic body and figure full of body language and emotion. There are still elements of the byzantine style within the stiff figure and the gold back ground. The body of Jesus is elongated that translate to emotion, sorrow, pain, or heaviness. This piece hung in the Santa Croce for over 650 years until there was a flood with the waterline well over Jesus head, leaving this piece highly damaged.

This later crucifix from 1317, is one that is debated by scholars as an attribution to Giotto. Some argue that Duccio could have also painted this. Regardless of the artist, this piece shows the next movement coming into popularity. And artists in the early 1300’s such as Giotto and Duccio had evolved their styles into accepting the next movement. This crucifix shows the ornate, patterned and decorated rising style around 1320’s. They are holding onto traditions of armament, and depiction. This artist has pushed the modeling and creates form within the figure. What’s interesting is the difference in style between Christ and the figures around. The figures around could have been painted by students, while the master painted the focal figure. The byzantine style is evident in the gold leaf and the depiction of the three figures around. Jesus has very white skin showing that he has already died.

Crucifix

Cimabue (1287-1288)– pictured before the flood

Panel, 14’3” x 12’7” Museo di Santa Croce, Florence

https://florenceinwarandflood.wordpress.com/works-in-exhibition-the-flood/crucifix-cimabue/

Giotto's Crucifixion details

Crucifixion

Crucifixon

Duccio di Buoninsegna (1308-1311)

Tempera on wood, Museo dell'Opera del Duomo (Siena)

https://www.wga.hu/html_m/d/duccio/maesta/verso_2/verso20a.html

Crucifixion

Giotto (1320-1325)

Tempra on Panel, 45 x 43 cm

Alte Pinakothek, Munich, Germany

https://www.wikiart.org/en/giotto/crucifixion-1

Giotto’s Crucifixion- Arena Chapel (1304-06)

Crucifixion

These are a separate slide because unlike the large cut outs prior, are smaller, full scenes. The figures around are put into space. The similarities like the gold background, the Y shape in which Jesus hangs, and the overlapping of figures to create space. Both the Christ figures have modeling to create form, hinting towards anatomy and muscle groups. The garments appear translucent to reveal the form of the figure. Christ's face hangs with emotion, deriving from the traditional and holy solemn faced Christ.

Originally titled Crocifissione, this scene, completed in 1320 -1325, is very similar to Giotto’s earlier crucifixion from 1305 in the Scrovegni Chapel. There are clear changes like the blue sky versus the gold sky, number of angels, less figures, and the addition of horses. And subtle changes such as, enhancing emotion, and the design within the halo. The fabric in the latter is depicted beautifully and without compare, it’s flowing, shimmering, and show this contemporary style of décor in the patterning. Giotto really mastered realism. There is a very similar composition of the two and Jesus himself could have been cut and pasted on the new one because their almost identical. The figure’s around are mostly interacting in the same way, but the figures have much more body language and are less stiff and more believable in the second painting of the Crucifixion.

In this piece, Christ is centered but doesn’t fill the entire scene. Chirst appears thin and the crosses enforce the thin body with the thin wood. The two criminals are present in this scene, along with his mother Mary, in her identifying blue robe and halo. The rocks this scene take place on are inspired by Giotto’s rocky foregrounds and backgrounds. Duccio focused the attention into his central figure using full contrast on Jesus and putting the two behind figures in shadow. The angels are reminiscent of Giotto’s angels as well.

Works Cited

“Giotto, Arena (Scrovegni) Chapel (Part 3).” Speakers: Dr. Beth Harris & Dr. Steven Zucker. Created by Beth Harris, Steven Zucker. Khan Academy, www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/v/giotto-arena-scrovegni-chapel-part-3-of-4.

“Giotto - Artworks.” The Athenaeum - Interactive Humanities Online, www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=3454.

Giotto, 1266?-1337., and Edi Baccheschi. The Complete Paintings of Giotto. New York: Harry N. Abrams, 1966.

Ladis, Andrew. Giotto's O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel. University Park, Pa.: Pennsylvania State University Press, 2008.

Last Supper (Scene 3) by DUCCIO Di Buoninsegna, www.wga.hu/html_m/d/duccio/maesta/verso_1/verso03.html.

Works Cited