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A discussion of the murals by Giotto in the Arena Chapel of Padua, Italy. The artist's work is considered in terms of its relationship to the structure of the poetry of Dante, biblical exegesis, geometry, and symmetry.
Vol. 1: Life Giotto (1334) is the first European artist about whom it is possible to write following the schema of "life and work". The situation of the sources, however, is complicated: On Giotto's life, there are – on the one hand – biographical accounts from the mid-fourteenth century onwards that responded to various ideological requirements (patriotism, humanism, Renaissance ideology, cult of the artist); on the other, there is extensive documentary material from Giotto's lifetime, which seems to reflect less the biography of an artist than that of a bourgeois businessman resolutely climbing the social ladder. The present volume focuses on this second aspect of the Giotto figure's double life relating it to the form of existence of the pre-modern artist. Vol. 2: Works The paintings examined and contextualised in this volume are those secured for Giotto through early written sources. These sources also help to reconstruct the sequence of his works and artistic inventions as is plausible in the context of media culture in the decades around and after 1300: while Giotto was spiritually and intellectually formed in the sphere of the Florentine Dominicans, his artistic path began in Rome in the shadow of the Curia. The breakthrough to his own artistic concept came immediately before and during his work in Padua. In addition to prominent churchmen, ecclesiastical institutions, and the King of Naples, his clients were predominantly members of Italy's urban and financial elites. The adoption and further development of his inventions by other - especially Sienese - painters pressured him in his later years to try new approaches again. Vol. 3: Survival Giotto is considered by many to be the founder of modern painting. This thesis is discussed and modified in the present volume on an empirical basis. What emerges is that Giotto's impact cannot be reduced simply to the introduction of the study of nature. Rather, his art was involved in the development of pictorial idioms that were attuned to the skills and interests of their audiences. The new approaches in his painting contributed in particular to the possibility of examining and communicating psychological, narrative and allegorical content of great complexity outside the media of language and text, which not only changed the face of European art but certainly contributed to the intellectual opening of Western societies.
Speak the Culture: Italy offers a rich and engaging insight into the events, people and movements that have shaped Italy and the Italians. A guidebook can show you where to go, a phrase-book what to say, but only Speak the Culture: Italy will lead you to the nation's soul. The Italian character is complex, contradictory, alluring and infinitely variable: heirs to the greatest empire of the ancient world but almost ungovernable; cradle of western civilization as well as the Mafia; maestros of modern design, mired in old-fashioned bureaucracy; epicentre of the Catholic Church and exemplars of la dolce vita. Where do you start? Giotto? Caravaggio? Murky Etruscan tombs or the mighty Roman Pantheon? Speak the Culture: Italy sifts through a sprawling 3,000 year saga and makes sense of it, dissecting architecture, music, food, art, literature, cinema, family and much more. Culture is covered in its broadest sense, extending into every aspect of Italian life--food and drink, religion, politics, sport, manners, character and so on. While the Italian peninsula has its ancient history, it's been a unified nation for less than 150 years. Lo Stivale, or the famous Boot, is young: the nuances of strong, surviving regional identities are important and revealed. Taken as a whole, Speak the Culture: Italy gives you an insight into what it means to be Italian, but it's also a book to dip into, to learn, for instance, about Giuseppe Verdi, Sophia Loren or Umberto Eco. Easily read and beautifully illustrated, this, the fourth in the Speak the Cultureseries, offers an intimate understanding of Italian life and culture for new residents, second home-owners, holidaymakers, business travelers, students and lovers of Italy everywhere.
Giotto (1334) is the first European artist about whom it is possible to write following the schema of "life and work". The situation of the sources, however, is complicated: On Giotto's life, there are – on the one hand – biographical accounts from the mid-fourteenth century onwards that responded to various ideological requirements (patriotism, humanism, Renaissance ideology, cult of the artist); on the other, there is extensive documentary material from Giotto's lifetime, which seems to reflect less the biography of an artist than that of a bourgeois businessman resolutely climbing the social ladder. The present volume focuses on this second aspect of the Giotto figure's double life relating it to the form of existence of the pre-modern artist.
In this book, Henrike Lange takes the reader on a tour through one of the most beloved and celebrated monuments in the world – Giotto's Arena Chapel. Paying close attention to previously overlooked details, Lange offers an entirely new reading of the stunning frescoes in their spatial configuration. The author also asks fundamental questions that define the chapel's place in Western art history. Why did Giotto choose an ancient Roman architectural frame for his vision of Salvation? What is the role of painted reliefs in the representation of personal integrity, passion, and the human struggle between pride and humility familiar from Dante's Divine Comedy? How can a new interpretation regarding the influence of ancient reliefs and architecture inform the famous “Assisi controversy” and cast new light on the debate around Giotto's authorship of the Saint Francis cycle? Illustrated with almost 200 color plates, this volume invites scholars and students to rediscover a key monument of art and architecture history and to see it with new eyes.
The ubiquity of references to dogs in medieval and early modern texts and images must at some level reflect their actual presence in those worlds, yet scholarly consideration of this material is rare and scattered across diverse sources. This volume addresses that gap, bringing together fifteen essays that examine the appearance, meaning, and significance of dogs in painting, sculpture, manuscripts, literature, and legal records of the period, reaching beyond Europe to include cultural material from medieval Japan and Islam. While primarily art historical in focus, the authors approach the subject from a range of disciplines and with varying methodology that ultimately reveals as much about dogs as about the societies in which they lived. Contributors are Kathleen Ashley, Jane Carroll, Emily Cockayne, John Block Friedman, Karen M. Gerhart, Laura D. Gelfand, Craig A. Gibson, Walter S. Gibson, Nathan Hofer, Jane C. Long, Judith W. Mann, Sophie Oosterwijk, Elizabeth Carson Pastan, Donna L. Sadler, Alexa Sand, and Janet Snyder.
Giotto is considered by many to be the founder of modern painting. This thesis is discussed and modified in the present volume on an empirical basis. What emerges is that Giotto's impact cannot be reduced simply to the introduction of the study of nature. Rather, his art was involved in the development of pictorial idioms that were attuned to the skills and interests of their audiences. The new approaches in his painting contributed in particular to the possibility of examining and communicating psychological, narrative and allegorical content of great complexity outside the media of language and text, which not only changed the face of European art but certainly contributed to the intellectual opening of Western societies.
"An introduction to Giotto's frescoes in Padua with an analytical essay, documents, and source materials ..."--Cover.
This volume offers unparalleled coverage of all aspects of art and architecture from medieval Western Europe, from the 6th century to the early 16th century. Drawing upon the expansive scholarship in the celebrated 'Grove Dictionary of Art' and adding hundreds of new entries, it offers students, researchers and the general public a reliable, up-to-date, and convenient resource covering this field of major importance in the development of Western history and international art and architecture.
Political strife and religious faction lacerated fourteenth-century Italy. Giotto's commissions are best understood against the background of this social turmoil. They reflected the demands of his patrons, the requirements of the Franciscan Order, and the restlessly inventive genius of the painter. Julian Gardner examines this important period of Giotto's path-breaking career through works originally created for Franciscan churches: Stigmatization of Saint Francis from San Francesco at Pisa, now in the Louvre, the Bardi Chapel cycle of the Life of St. Francis in Santa Croce at Florence, and the frescoes of the crossing vault above the tomb of Saint Francis in the Lower Church of San Francesco at Assisi.