Giotto Flashcards
1
Q
14th century Italy artists
A
Cimabue
Giotto
2
Q
14th century Italy background
A
- 14th C - Italian Byzantine painting style began to be challenged
- paintings more realistic + reflected St. Francis of Assisi’s appeal to make art more understandable to ordinary ppl
- term ‘trecento’ often used when referring to art
3
Q
Cimabue (vs Giotto)
A
- last sig. painter in Italian Byzantine Style
- mosaic artist in B style
- Inventive + interested in ancient Roman sculpture, particularly rep. of folds in drapery
- figures more naturalistic, less rigid than typical stylised, flat Byzantine figures
4
Q
Giotto (vs Cimabue)
A
- born near Florence, probably trained w/ Cimabue
- considered 1st great artists of Italian Renaissance
- received commissions (church leaders)
- paid salary by city of Florence for work
- compassion + sympathy for humanity in work reflects in fluence of teachings of St. Francis of Assisi
5
Q
comparison and contrast with Cimabue’s painting
A
- Giotto’s Mary: solid, has weight. Cimabue’s Mary: delicate, could be paper thin
- Giotto’s angels: sculptural element. Cimabue’s angels: flatter
- neither show realistic bg, both show heavenly space
- more modelling in face of Giotto’s Mary than Cimabue’s
6
Q
The Arena Chapel Frescoes
A
- The Deposition’ or ‘The Lamentation of Christ’
- ‘The Kiss of Judas’
- ‘Flight into Egypt’
7
Q
Why Giotto’s blue skies in his arena chapel frescoes have deteriorated badly:
A
Blue pigment reacted badly w/ wet lime plaster. Consequently, Giotto painted the blue skies in Arena chapel frescoes on dry plaster (fresco secco). As a result, blue paint deteriorated badly
8
Q
Giotto’s influence
A
- ahead of his time, realistic figures laid foundations of Italian Renaissance painting
- true successor: Mosaccio (studied Giotto’s frewscoes + imitated 3-dimensional forms)
9
Q
Giotto’s personal style + technique
A
- dramatic storytelling. Few figures + simple backdrops
- expressive figures instead of lifeless Byzantine-style
- fresco technique w/ rich colours
- light + shade suggest 3-dimensional form
- naturalistic solid figures, unlike flat Byzantine style
- simple perspective create convincing depth
- bg landscapes less realistic than figures
10
Q
‘Madonna Enthroned’
artist
A
Giotto
11
Q
‘Madonna Enthroned’
materials
A
- tempera on wood panel
- minerals suspended in egg media as painted
- method good for little lines (but doesn’t blend well + dries quickly)
- gold leaf glued on to bg + burnished
12
Q
‘Madonna Enthroned’
themes/subject matter
A
-painted
13
Q
‘Madonna Enthroned’
composition
A
- large figure of Mary sitting on large throne + holding the baby Jesus
- surrounded by angels + prophets
- angels positioned to left + right. 2 angels at foot of throne steps
- places viewer at particular point in relation to figures, looking down at step, looking up at Christ, see more of right window. Slightly off centre view
- 2 prophets looking thru wings of throne
14
Q
‘Madonna Enthroned’
treatment of figure
A
- Mary occupies space, has monumentality + presence + physicality. looks solid + has weight
- angels have individuality. Positioned one in front of another + some partially hidden
- prophets positioned among angels
15
Q
‘Madonna Enthroned’
shading + light
A
- Mary: turn of body created by transition from highlights to shade. See her neck + drapery pulling across body
- real sense of Mary sitting in throne, knees foreshortened, showing illusion of space
- drapery defined by modelling from light to dark
- sculptural element to figures of angels
16
Q
‘The Deposition’ or ‘The Lamentation of Christ’
artist
themes/subject matter
A
Giotto
moment Christ taken down from cross
followers mourning
17
Q
‘The Deposition’ or ‘The Lamentation of Christ’
composition
A
- natural environment, trees + rocks behind
- sky: swooping lamenting angels
- Christ positioned in lower left, cradled by mother
- Mary props him on lap, Mary Magdalene w/ red hair seen at his feet
- Position of figures - leave gap to see dead Christ
- figures leaning + looking at Christ, lead eye to him
- 2 figures show back to viewers
- diagonal line of rock bring eyes back to Christ
18
Q
‘The Deposition’ or ‘The Lamentation of Christ’
treatment of figure
A
- proportions realistic + natural looking
- figures use shading + look 3-dimensional
- figures - no two look alike
- lines in clothing describe figures underneath
- hands + face realistic, show emotions thru expressive facial features + body gestures
- displays emotion felt by followers, tries to get us to empathise
- broke away from trad. methods of displaying figures + scenes, greatest achievement: displaying characters’ emotions
- known as “grandfather of the Renaissance”
19
Q
‘The Deposition’ or ‘The Lamentation of Christ’
Style and Technique
A
- light - single source, create sense of realistic setting. Figures modelled w/ shading + 3-d feel
- foreshortening in figures of angels + arms of larger figures. Illusion of reality + showcase understanding of this phenomenon
- developed technique of painting on wet plaster (Buon Fresco). Small sections of wall plastered, drawing transferred + painted in 1 day
- prior:common to paint on dry plaster (“Secco”), quicker + easier to to carry out, but not permanent
20
Q
‘The Kiss of Judas’
artist
A
Giotto
21
Q
‘The Kiss of Judas’
subject matter
A
- Giotto’s interpretation of Judas’ kiss
- after Last Supper, Judas identifies Jesus for Roman soldiers by kissing him at garden of Gethsemane
- center: Judas, in yellow robe, gives Jesus intimate embrace
- 2 men lock eyes as angry soldiers carrying weapons surround
22
Q
‘The Kiss of Judas’
how he conveys drama
A
- every movement, gesture, gaze heightens tension
- see tension especially thu St. Peter cutting off ear of an attacker
- drama of event captured in infinitely long exchange of glances
23
Q
Giotto’s Innovation/style
A
- created illusion of real pace
- real people against real bgs
- human emotion thru expressions
- naturalistic solid figures, unlike Byzantine
- dramatic storytelling
- correct proportion + foreshortening
- light + shade create 3-d form
- improved trad. fresco techniques. Wet plaster instead of dry plaster
- use of fresco technique w/ rich colours
24
Q
Arena Chapel Frescoes
A
- Giotto employed to decorate small family chapel
- covered walls w/ 38 fresco series from ‘The Life of Jesus’
- change from symbolic Byzantine art noticeable
- faux marble panels or walls
- ceiling covered w/ painted stars + biblical figures
- organised in strict way
- 3 registers behind at top + move downwards, telling story of Jesus
- 1st register = begins w/ Christ’s grandparents, Birth of Mary + her marriage
- 2nd register = Christ’s life
- 3rd register = the passion, events at end of Chrit’s life + after Death
25
Q
Fresco
A
means painting on plaster
26
Q
fresco techniques
A
buon fresco
fresco secco
27
Q
buon fresco
A
- painting quickly on thin later if damp, freshly laid plaster
- used pure pigments mixed w/ water
- as plaster dries, paint becomes permanent part of wall
- small sections painted in a day
- true fresco technique (regarded as)
28
Q
fresco secco
A
- painting on dry plaster. Paint mix of pigments mixed w/ water + egg/glue
- artists can paint more slowly
- paint does not become part of wall + may eventually flake off
