Giotto: The Painting

Front Cover
Giunti Editore, 1998 - Art - 50 pages
La presente edizione è in lingua inglese ed è dedicata ad uno dei più grandi artisti italiani del Trecento: Giotto (1267?-1337). Giovanissimo lavora nella bottega di Cimabue, ma in breve diventa uno degli artisti più contesi della penisola. Lascia i suoi capolavori in San Francesco ad Assisi, nella cappella degli Scrovegni a Padova, in Santa Croce a Firenze. È l'artefice di un rinnovamento radicale del linguaggio in pittura: è il discrimine tra l'arte medievale e la rinascita di una cultura figurativa improntata all'osservazione del reale, al punto che si può affermare che le vicende dell'arte italiana abbiano un "prima" e un "dopo" Giotto.
 

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Contents

Section 1
11
Section 2
25
Section 3
36
Section 4
41
Section 5
45

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Page 7 - Giotto, was a man of such outstanding genius that there was nothing in the whole of creation that he could not depict with his stylus, pen, or brush. And so faithful did he remain to Nature (who is the mother and the motive force of all created things, via the constant rotation of the heavens), that whatever he depicted had the appearance, not of a reproduction, but of the thing itself, so that one very often finds, with the works of Giotto, that people's eyes are deceived and they mistake the picture...
Page 8 - Giotto, that people's eyes are deceived and they mistake the picture for the real thing. Hence, by virtue of the fact that he brought back to light an art which had been buried for centuries beneath the blunders of those who, in their paintings, aimed to bring visual delight to the ignorant rather than intellectual satisfaction to the wise, his work may justly be regarded as a shining monument to the glory of Florence.
Page 7 - Credette Cimabue nella pittura/tener lo campo, ed ora ha Giotto il grido,/si che la fama di colui e scura".
Page 7 - ... vision with the famous assessment of Giotto's practice as a painter. Now the net effect of the invocation of this practice is not so much to rehabilitate or even undo the narcissistic and a fortiori visual /specular knot of day one, as to divert it toward the question of representation tout court. Giotto was a man of such outstanding genius that there was nothing in the whole of creation he could not depict with his stylus, pen or brush. And so faithful did he remain to Nature that whatever he...
Page 23 - Cana 24. Raising of Lazarus 25. Entry into Jerusalem 26. Expulsion of the Money-changers from the Temple 27. Judas receiving Payment for his Betrayal 28.
Page 25 - Scenes from the life, of the Virgin and Scenes from the life of Christ (1303-1305), complete and detail; Padua, Arena Chapel (or Scrovegni Chapel).
Page 23 - Scenes from the life of the Virgin, and Scenes from the life of Christ (1303-1305); Padua, Arena Chapel (Scrovegni Chapel) the Scrovegnis of the ill-gotten gains of usury.
Page 35 - Rome, which also range from a minimum of two to a maximum of four. The central panel on the back of the altarpiece shows St.
Page 42 - Scenes from the lives of St. John the Baptist and Scenes •from the lives of St. John the Evangelist (about 1315-1320); Florence, Santa Croce, Peruzzi Chapel.

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