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
