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Giotto
Statue of Giotto, outside the Uffizi
Birth name Giotto di Bondone
Born c. 1267
near Florence, Italy
Died January 8, 1337 (Aged about 70)
Florence, Italy
Nationality Italian
Field Painting, Fresco
Movement Late Gothic
Works Scrovegni Chapel frescoes, Campanile

Giotto di Bondone (c. 1267 – January 8, 1337), better known simply as Giotto, was an Italian painter and architect from Florence in the late Middle Ages. He is generally considered the first in a line of great artists who contributed to the Italian Renaissance.

Giotto's contemporary Giovanni Villani wrote that Giotto was "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature. And he was given a salary by the Comune of Florence in virtue of his talent and excellence."[1]

The later 16th century biographer Giorgio Vasari says of him: "[H]e made a decisive break with the crude traditional Byzantine style, and brought to life the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years."[2]

Giotto's masterwork is the decoration of the Scrovegni Chapel in Padua, commonly called the Arena Chapel, completed around 1305. This fresco cycle depicts the life of the Virgin and the life of Christ. It is regarded as one of the supreme masterpieces of the Early Renaissance.[3] That Giotto painted the Arena Chapel and that he was chosen by the Comune of Florence in 1334 to design the new campanile (bell tower) of the Florence Cathedral are among the few certainties of his biography. Almost every other aspect of it is subject to controversy: his birthdate, his birthplace, his appearance, his apprenticeship, the order in which he created his works, whether or not he painted the famous frescoes at Assisi, and his burial place.

Contents

Biography

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Early years

It has been traditional to hold that Giotto was born in a hilltop farmhouse, perhaps at Colle di Romagnano or Romignano;[4] since 1850 a tower house in nearby Colle Vespignano, a hamlet 35 kilometres north of Florence, has borne a plaque claiming the honour of his birthplace, an assertion commercially publicized. Very recent research, however, has suggested that he was actually born in Florence, the son of a blacksmith.[5] His father's name was Bondone, described in surviving public records as "a person of good standing". Most authors accept that Giotto was his real name, but it may have been an abbreviation of Ambrogio (Ambrogiotto) or Angelo (Angelotto).[6]

The year of his death is calculated from the fact that Antonio Pucci, the town crier of Florence, wrote a poem in Giotto's honour in which it is stated that he was 70 at the time of his death. However, the word "seventy" fits into the rhyme of the poem better than would have a longer and more complex age, so it is possible that Pucci used artistic license.[6]

In his Lives of the Artists, Giorgio Vasari relates that Giotto was a shepherd boy, a merry and intelligent child who was loved by all who knew him. The great Florentine painter Cimabue discovered Giotto drawing pictures of his sheep on a rock. They were so lifelike that Cimabue approached Bondone and asked if he could take the boy as an apprentice.[2] Cimabue was one of the two most highly renowned painters of Tuscany, the other being Duccio, who worked mainly in Siena.

Vasari recounts a number of such stories about Giotto's skill. He writes that when Cimabue was absent from the workshop, his young apprentice painted such a lifelike fly on the face of the painting that Cimabue was working on, that he tried several times to brush it off. Vasari also relates that when the Pope sent a messenger to Giotto, asking him to send a drawing to demonstrate his skill, Giotto drew, in red paint, a circle so perfect that it seemed as though it was drawn using a compass and instructed the messenger to give that to the Pope.[2]

Many scholars today are uncertain about Giotto's training, and consider that Vasari's story that he was Cimabue's pupil is legendary, citing early sources which suggest that Giotto was not Cimabue's pupil.[7] Giotto's art shares many qualities with Roman paintings of the later 13th century. Cimabue may have been working in Rome in this period, and there was an active local school of fresco painters, of whom the most famous was Pietro Cavallini. The famous Florentine sculptor and architect, Arnolfo di Cambio, was then also working in Rome.[2]

One of the Legend of St. Francis frescoes at Assisi, the authorship of which is disputed.

Frescos of the Upper Church at Assisi

From Rome, Cimabue went to Assisi to paint several large frescoes at the newly-built Basilica of St Francis of Assisi, and it is possible, but not certain, that Giotto went with him. The fresco cycle of the Life of St. Francis in the Upper Church is one of the most hotly disputed works of art in the history of art history. The documents of the Franciscan Friars that relate to artistic commissions during this period were destroyed by Napoleon's troops, who stabled horses in the Upper Church of the Basilica, and scholars have been divided over whether or not Giotto was responsible for the Francis Cycle. In the absence of documentary evidence to the contrary, it has been convenient to ascribe every fresco in the Upper Church that was not obviously by Cimabue, to Giotto, whose prestige has overshadowed that of almost every contemporary. Some of the earliest remaining biographical sources, such as Ghiberti and Riccobaldo Ferrarese, suggest that the fresco cycle of the life of St Francis in the Upper Church was his earliest autonomous work.[8] However, since the idea was put forward by the German art historian, Friedrich Rintelen in 1912,[9] many scholars have expressed doubt that Giotto was in fact the author of the Upper Church frescoes. Without documentation, arguments on the attribution have relied upon connoisseurship, a notoriously unreliable "science."[10] Recently, however, technical examinations and comparisons of the workshop painting processes at Assisi and Padua have provided strong evidence that Giotto did not paint the St. Francis Cycle.[11] There are many differences between the Francis Cycle and the Arena Chapel frescoes that are difficult to account for by the stylistic development of an individual artist. It seems quite possible that several hands painted the Assisi frescoes, and that the artists were probably from Rome. If this is the case, then Giotto's frescoes at Padua owe much to the naturalism of these painters.[6]

Other attributions

The Crucifixion of Rimini.

The authorship of a large number of panel paintings ascribed to Giotto by Vasari, among others, is as broadly disputed as the Assisi frescoes.[12] According to Vasari, Giotto's earliest works were for the Dominicans at Santa Maria Novella. These include a fresco of the Annunciation and the enormous suspended Crucifix, which is about 5 metres high.[2] It has been dated around 1290 and is therefore contemporary with the Assisi frescoes.[13] Other early works are the San Giorgio alla Costa Madonna and Child now in the Diocesan Museum of Santo Stefano al Ponte, Florence, and the signed panel of the Stigmatization of St. Francis, from Pisa today in the Louvre.

In 1287, at the age of about 20, Giotto married Ricevuta di Lapo del Pela, known as "Ciuta". The couple had numerous children, (perhaps as many as eight) one of whom, Francesco, became a painter.[6] Giotto worked in Rome in 1297–1300, but few traces of his presence there remain today. The Basilica of San Giovanni in Laterano houses a small portion of a fresco cycle, painted for the Jubilee of 1300 called by Boniface VIII. In this period he also painted the Badia Polyptych, now in the Uffizi, Florence.[2]

Giotto's fame as a painter spread. He was called to work in Padua, and also in Rimini, where today only a Crucifix remains in the Church of St. Francis, painted before 1309.[2] This work influenced the rise of the Riminese school of Giovanni and Pietro da Rimini. According to documents of 1301 and 1304, Giotto by this time possessed large estates in Florence, and it is probable that he was already leading a large workshop and receiving commissions from throughout Italy.[6]

The Scrovegni Chapel

Around 1305 Giotto executed his most influential work, the painted decoration of the interior of the Scrovegni Chapel in Padua. The chapel was commissioned by Enrico degli Scrovegni to serve as a family worship and burial space, even though his parish church was nearby; its construction caused some consternation among the clerics at the Eremitani church next door.[14] This chapel is externally a very plain building of pink brick which was constructed next to an older palace that Scrovegni was restoring for himself. The palace, now gone, and the chapel were on the site of a Roman arena, for which reason it is commonly known as the Arena Chapel.[6]

The theme is Salvation, and there is an emphasis on the Virgin Mary, as the chapel is dedicated to the Annunciation and to the Virgin of Charity. As is common in the decoration of the Medieval period, the west wall is dominated by the Last Judgement. On either side of the chancel are complementary paintings of the Angel Gabriel and the Virgin Mary, depicting the Annunciation. This scene is incorporated into the cycles of The Life of the Blessed Virgin Mary and The Life of Christ. The source for The Life of the Virgin is the [[Golden Legend]] of Jacopo da Voragine while The Life of Christ draws upon the [[Meditations on the Life of Jesus]] by the Pseudo-Bonaventura. The frescoes are more than mere illustrations of familiar texts, however, and scholars have found numerous sources for Giotto's interpretations of sacred stories.[15]

The cycle is divided into 37 scenes, arranged around the lateral walls in 3 tiers, starting in the upper register with the story of Joachim and Anna, the parents of the Virgin and continuing with the story of Mary. The life of Jesus occupies two registers. The Last Judgment fills the entire pictorial space of the counter-façade.

While Cimabue painted in a manner that is clearly Medieval, having aspects of both the Byzantine and the Gothic, Giotto's style draws on the solid and classicizing sculpture of Arnolfo di Cambio. Unlike Cimabue and Duccio, Giotto's figures are not stylized or elongated and do not follow set Byzantine models. They are solidly three-dimensional, have faces and gestures that are based on close observation, and are clothed not in swirling formalized drapery, but in garments that hang naturally and have form and weight. Although aspects of this trend in painting had already appeared in Rome in the work of Pietro Cavallini and at Assisi, Giotto took it so much further that he earned the reputation for setting a new standard for representational painting.

Lamentation (The Mourning of Christ), Cappella degli Scrovegni.

The heavily sculptural figures occupy compressed settings with naturalistic elements, often using forced perspective devices so that they resemble stage sets. This similarity is increased by Giotto's careful arrangement of the figures in such a way that the viewer appears to have a particular place and even an involvement in many of the scenes. This dramatic immediacy was a new feature, which is also seen to some extent in the Upper Church at Assisi.

Famous narratives in the series include the Adoration of the Magi, in which a comet-like Star of Bethlehem streaks across the sky. Giotto is thought to have been inspired by the 1301 appearance of Halley's comet, which led to the name Giotto being given to a 1986 space probe to the comet. Another famous scene is the Lamentation, in which Giotto adapted the traditional Byzantine iconography of the scene to create an emotional representation that draws the viewer into the sacred narrative.

Giotto's depiction of the human face and emotion sets his work apart from that of his contemporaries. When the disgraced Joachim returns sadly to the hillside, the two young shepherds look sideways at each other. The soldier who drags a baby from its screaming mother in the Massacre of the Innocents does so with his head hunched into his shoulders and a look of shame on his face. The people on the road to Egypt gossip about Mary and Joseph as they go. Of Giotto's realism, the 19th century English critic John Ruskin said "He painted the Madonna and St. Joseph and the Christ, yes, by all means ... but essentially Mamma, Papa and Baby."[6]

Other works in Padua

The Uffizi Ognissanti Madonna

Among those frescoes in Padua which have been lost are those in the Basilica of. St. Anthony[16] and the Palazzo della Ragione,[17] which are however from a later sojourn in Padua.

Numerous painters from northern Italy were influenced by Giotto's work in Padua including Guariento, Giusto de' Menabuoi, Jacopo Avanzi, and Altichiero.

Mature works

From 1306 to 1311 Giotto was in Assisi, where he painted frescoes in the transept area of the Lower Church, including The Life of Christ, Franciscan Allegories and the Maddalena Chapel, drawing on stories from the Golden Legend and including the portrait of bishop Teobaldo Pontano who commissioned the work. Several assistants are mentioned, including one Palerino di Guido. However, the style demonstrates developments from Giotto's work at Padua.[6]

In 1311 Giotto returned to Florence, A document from 1313 shows his presence in Rome, where he executed a mosaic for the façade of the old St. Peter's Basilica, commissioned by Cardinal Jacopo Stefaneschi and now lost except for some fragments. In Florence, where documents from 1314–1327 attest to his financial activities, he painted an altarpiece known as the Ognissanti Madonna and now in the Uffizi where it is famously exhibited beside Cimabue's Santa Trinita Madonna and Duccio's Rucellai Madonna.[6]

At this time he also painted the Dormition of the Virgin in the Berlin Gemäldegalerie and the Crucifix in the Church of Ognissanti.

Bardi Chapel: the Mourning of St. Francis.

According to Lorenzo Ghiberti, in 1318 he began to paint chapels for four different Florentine families in the church of Santa Croce: the Bardi Chapel (Life of St. Francis), the Peruzzi Chapel (Life of St. John the Baptist and St. John the Evangelist, including a polyptych of Madonna with Saints now in the Museum of Art of Raleigh, North Carolina) and the lost Giugni Chapel (Stories of the Apostles) and the Tosinghi Spinelli Chapel (Stories of the Holy Virgin). The remaining frescoes show that in later years Giotto's style had become more ornate, perhaps as a response to the emerging International Gothic style.

The Peruzzi Chapel was especially renowned during Renaissance times, and Michelangelo is known to have studied it. Though largely restored, the decoration displays clearly Giotto's capabilities in chiaroscuro and his study of perspective in the ancient buildings. Giotto's compositions later influenced Masaccio's Cappella Brancacci.

The Bardi Chapel is of particular interest as it follows the same iconographic plan as the frescoes in the Upper Church at Assisi, dating from about 20 years earlier. A comparison makes apparent the greater attention given by Giotto to expression in the human figures and the simpler, better integrated architectural forms.

Section references: [6][3][2]

Later life

In 1320 Giotto finished the Stefaneschi Triptych, now in the Vatican Museum, for Cardinal Jacopo, who also commissioned him the decoration of St. Peter's apse, with a cycle of frescoes destroyed during the 16th century renovation. According to Vasari, Giotto remained in Rome for six years, subsequently receiving numerous commissions in Italy and in the Papal seat at Avignon, though some of these works are now recognized to be by other artists.

In 1328, after completing the Baroncelli Polyptych, he was called by King Robert of Anjou to Naples, where he remained with a group of pupils until 1333. In Naples few of his works have survived: a fragment of a fresco portraying the Lamentation of Christ in the church of Santa Chiara, and the Illustrious Men painted on the windows of the Santa Barbara Chapel of Castel Nuovo (which are usually attributed to his pupils). In 1332 King Robert named him "first court painter" with a yearly pension.

After Naples Giotto stayed for while in Bologna, where he painted a Polyptych for the church of Santa Maria degli Angeli, and, according to the sources, a lost decoration for the Chapel in the Cardinal Legate's Castle.[2]

In 1334 Giotto was appointed chief architect to Florence Cathedral, of which the Campanile (founded by him on July 18, 1334) bears his name, but was not completed to his design.[6]

Before 1337 he was in Milan with Azzone Visconti, though no trace of works by him remain in the city. His last known work (with assistants' help) is the decoration of Podestà Chapel in the Bargello, Florence.[6]

In his final years Giotto had become friends with Boccaccio and Sacchetti, who featured him in their stories. In The Divine Comedy, Dante acknowledged the greatness of his living contemporary through the words of a painter in Purgatorio (XI, 94–96): "Cimabue believed that he held the field/In painting, and now Giotto has the cry,/ So the fame of the former is obscure."[3]

A possible contender as an image of Giotto is this face from the decoration of the Peruzzi Chapel.(digitally restored)

Remains

Giotto died in January of 1337. According to Vasari,[2] Giotto was buried in Santa Maria del Fiore, the Cathedral of Florence, on the left of the entrance and with the spot marked by a white marble plaque. According to other sources, he was buried in the Church of Santa Reparata. These apparently contradictory reports are explained by the fact that the remains of Santa Reparata lie directly beneath the Cathedral and the church continued in use while the construction of the cathedral was proceeding in the early 14th century.

During an excavation in the 1970s bones were discovered beneath the paving of Santa Reparata at a spot close to the location given by Vasari, but unmarked on either level. Forensic examination of the bones by anthropologist Francesco Mallegni and a team of experts in 2000 brought to light some facts that seemed to confirm that they were those of a painter, particularly the range of chemicals, including arsenic and lead, both commonly found in paint, that the bones had absorbed.[18]

The bones were those of a very short man, of little over four feet tall, who may have suffered from a form of congenital dwarfism. This supports a tradition at the Church of Santa Croce that a dwarf who appears in one of the frescoes is a self portrait of Giotto. On the other hand, a man wearing a white hat who appears in the Last Judgement at Padua is also said to be a portrait of Giotto. The appearance of this man conflicts with the image in Santa Croce.[18]

Vasari, drawing on a description by Boccaccio, who was a friend of Giotto, says of him that "there was no uglier man in the city of Florence" and indicates that his children were also plain in appearance. There is a story that Dante visited Giotto while he was painting the Arena Chapel and, seeing the artist's children underfoot asked how a man who painted such beautiful pictures could create such plain children, to which Giotto, who according to Vasari was always a wit, replied "I made them in the dark."[2]

Forensic reconstruction of the skeleton at Santa Reperata showed a short man with a very large head, a large hooked nose and one eye more prominent than the other. The bones of the neck indicated that the man spent a lot of time with his head tilted backwards. The front teeth were worn in a way consistent with frequently holding a brush between the teeth. The man was about 70 at the time of death.[18]

While the Italian researchers were convinced that the body belonged to Giotto and it was reburied with honour near the grave of Brunelleschi, others have been highly sceptical.[19]

Gallery

Footnotes

  1. ^ Bartlett, Kenneth R. (1992). The Civilization of the Italian Renaissance. Toronto: D.C. Heath and Company. ISBN 0-669-20900-7 (Paperback). Page 37.
  2. ^ a b c d e f g h i j k Giorgio Vasari, Lives of the Artists, trans. George Bull, Penguin Classics, (1965)
  3. ^ a b c Hartt, Frederick (1989). Art: a history of painting, sculpture, architecture. Harry N. Abrams. pp. 503–506. 
  4. ^ Sarel Eimerl, see below, cites Colle di Romagnano. However, the spelling is perhaps wrong, and the location referred to may be the site of the present Trattoria di Romignano, in a hamlet of farmhouses in the Mugello region.
  5. ^ Michael Viktor Schwartz and Pia Theis, "Giotto's Father: Old Stories and New Documents," Burlington Magazine, 141 (1999) 676-677 and idem, Giottus Pictor. Band 1: Giottos Leben, Vienna, 2004
  6. ^ a b c d e f g h i j k l Sarel Eimerl, The World of Giotto, Time-Life Books.
  7. ^ Hayden B.J. Maginnis, "In Search of an Artist," in Anne Derbes and Mark Sandona, The Cambridge Companion to Giotto, Cambridge, 2004, 12-13.
  8. ^ Sarel. But note that Riccobaldo doesn't say Giotto painted the Francis Cycle. He writes: "What kind of art [Giotto] made is testified to by works done by him in the Franciscan churches at Assisi, Rimini, Padua..." A. Teresa Hankey, "Riccobaldo of Ferraro and Giotto: An Update," Journal of the Warburg and Courtauld Institutes, 54 (1991) 244.
  9. ^ Friedrich Rintelen, Giotto und die Giotto-apokryphen, (1912)
  10. ^ See, for example, Richard Offner's famous article of 1939, "Giotto, non-Giotto," conveniently collected in James Stubblebine, Giotto: The Arena Chapel Frescoes, New York, 1969 (reissued 1996), 135-155, which argues against Giotto's authorship of the frescoes. In contrast, Luciano Bellosi, La pecora di Giotto, Turin, 1985, calls each of Offner's points into question.
  11. ^ Bruno Zanardi, Giotto e Pietro Cavallini: La questione di Assisi e il cantiere medievale della pittura a fresco, Milan 2002; Zanardi provides an English synopsis of his study in Anne Derbes and Mark Sandona, The Cambridge Companion to Giotto, New York, 2004, 32-62.
  12. ^ Maginnis, "In Search of an Artist,"23-28.
  13. ^ In 1312 the will of Ricuccio Pucci leaves funds to keep a lamp burning before the crucifix "by the illustrious painter Giotto". Ghiberti also cites it as a work by Giotto.
  14. ^ See the complaint of the Eremitani monks in James Stubblebine, Giotto: The Arena Chapel Frescoes, New York, 1969, 106-107, and an analysis of the commmission by Benjamin G. Kohl, "Giotto and his Lay Patrons," in Anne Derbes and Mark Sandona, The Cambridge Companion to Giotto, Cambridge, 2004, 176-193.
  15. ^ Anne Derbes and Mark Sandona, The Usurer's Heart: Giotto, Enrico Scrovegni, and the Arena Chapel in Padua, University Park, 2008; Laura Jacobus, Giotto and the Arena Chapel: Art, Architecture and Experience, London, 2008; Andrew Ladis, Giotto's O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel, University Park, 2009
  16. ^ The remaining parts (Stigmata of St. Francis, Martyrdom of Franciscans at Ceuta, Cruficixion and Heads of Prophets are most likely from assistants.
  17. ^ Finished in 1309 and mentioned in a text from 1350 by Giovanni da Nono. They had an astrological theme, inspired by the Lucidator, a treatise famous in the 14th century.
  18. ^ a b c IOL,September 22 2000,[1]
  19. ^ Franklin Toker, a professor of art history at the University of Pittsburgh, who was present at the original excavation in 1970, says that they are probably "the bones of some fat butcher!" [2]

References

  • Eimerl, Sarel. The World of Giotto, Time-Life Books, (1967), ISBN 0-900658-15-0
  • Previtali, G. Giotto e la sua bottega (1993)
  • Vasari, Giorgio.
    • Le vite de più eccellenti pittori, scultori e architetti (1568)
    • Lives of the Artists, trans. George Bull, Penguin Classics, (1965) ISBN 0-14-044-164-6

Other reading

  • Ladis, Andrew. Giotto's O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel (Pennsylvania State UP, 2009)
  • Land, Norman. Giotto as an Ugly Genius: A Study in Self-Portrayal, in Andrew Ladis, ed., Giotto as a Historical and Literary Figure: Miscellaneous Studies, 4 vols. (Vol. 1: Giotto and the World of Early Italian Art), Garland Publishing, New York, 1998: 183 – 196.
  • Pisani, Giuliano.
    • L’ispirazione filosofico-teologica nella sequenza Vizi-Virtù della Cappella degli Scrovegni, «Bollettino del Museo Civico di Padova», XCIII, 2004, Milano 2005, pp. 61–97.
    • Terapia umana e divina nella Cappella degli Scrovegni, «Il Governo delle cose», dir. Franco Cardini, Firenze, n. 51, anno VI, 2006, pp. 97–106.
    • L’iconologia di Cristo Giudice nella Cappella degli Scrovegni di Giotto, «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 45–65.
    • Le allegorie della sovrapporta laterale d’accesso alla Cappella degli Scrovegni di Giotto, «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 67–77.
    • Il miracolo della Cappella degli Scrovegni di Giotto, in ModernitasFestival della modernità (Milano 22-25 giugno 2006), Spirali, Milano 2006, pp. 329–57.
    • Una nuova interpretazione del ciclo giottesco agli Scrovegni, «Padova e il suo territorio», XXII, 125, 2007, pp. 4–8.
    • I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni, Rizzoli, Milano 2008.
    • Il programma della Cappella degli Scrovegni, in Giotto e il Trecento, by A. Tomei, Skira, Milano 2009, I – I saggi, pp. 113–127.

External links

Note: while reproductions of paintings at external sites are valuable, attributions may be misleading. Any website that shows, without question, the frescoes of the Upper Church of St. Francis of Assisi as being the work of Giotto, is ignoring modern scholarship on the matter. Any website that claims Giotto was placed in charge of the decoration of the Upper Church or was selected as the "most suitable" artist for its decoration is making a claim based on lack of evidence. If records of the commissions existed, they may have been lost. The early documents held by the church have been destroyed.


Giotto
File:Uffizi
Statue of Giotto, outside the Uffizi
Birth name Giotto di Bondone
Born c. 1267
near Florence, Republic of Florence, in present-day Italy
Died January 8, 1337 (aged about 70)
Florence, Republic of Florence, in present-day Italy
Nationality Italian
Field Painting, Fresco
Movement Late Gothic
Works Scrovegni Chapel frescoes, Campanile

Giotto di Bondone (c. 1267 – January 8, 1337), better known simply as Giotto, was an Italian painter and architect from Florence in the late Middle Ages. He is generally considered the first in a line of great artists who contributed to the Italian Renaissance.

Giotto's contemporary Giovanni Villani wrote that Giotto was "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature. And he was given a salary by the Comune of Florence in virtue of his talent and excellence."[1]

The late-16th century biographer Giorgio Vasari says of him: "[H]e made a decisive break with the crude traditional Byzantine style, and brought to life the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years."[2]

Giotto's masterwork is the decoration of the Scrovegni Chapel in Padua, commonly called the Arena Chapel, completed around 1305. This fresco cycle depicts the life of the Virgin and the life of Christ. It is regarded as one of the supreme masterpieces of the Early Renaissance.[3] That Giotto painted the Arena Chapel and that he was chosen by the Comune of Florence in 1334 to design the new campanile (bell tower) of the Florence Cathedral are among the few certainties of his biography. Almost every other aspect of it is subject to controversy: his birthdate, his birthplace, his appearance, his apprenticeship, the order in which he created his works, whether or not he painted the famous frescoes at Assisi, and his burial place.

Contents

=Early years

= It has been traditional to hold that Giotto was born in a hilltop farmhouse, perhaps at Colle di Romagnano or Romignano;[4] since 1850 a tower house in nearby Colle Vespignano, a hamlet 35 kilometres north of Florence, has borne a plaque claiming the honour of his birthplace, an assertion commercially publicized. Very recent research, however, has suggested that he was actually born in Florence, the son of a blacksmith.[5] His father's name was Bondone, described in surviving public records as "a person of good standing". Most authors accept that Giotto was his real name, but it may have been an abbreviation of Ambrogio (Ambrogiotto) or Angelo (Angelotto).[6]

The year of his death is calculated from the fact that Antonio Pucci, the town crier of Florence, wrote a poem in Giotto's honour in which it is stated that he was 70 at the time of his death. However, the word "seventy" fits into the rhyme of the poem better than would have a longer and more complex age, so it is possible that Pucci used artistic license.[6]

In his Lives of the Artists, Giorgio Vasari relates that Giotto was a shepherd boy, a merry and intelligent child who was loved by all who knew him. The great Florentine painter Cimabue discovered Giotto drawing pictures of his sheep on a rock. They were so lifelike that Cimabue approached Bondone and asked if he could take the boy as an apprentice.[2] Cimabue was one of the two most highly renowned painters of Tuscany, the other being Duccio, who worked mainly in Siena.

Vasari recounts a number of such stories about Giotto's skill. He writes that when Cimabue was absent from the workshop, his young apprentice painted such a lifelike fly on the face of the painting that Cimabue was working on, that he tried several times to brush it off. Vasari also relates that when the Pope sent a messenger to Giotto, asking him to send a drawing to demonstrate his skill, Giotto drew, in red paint, a circle so perfect that it seemed as though it was drawn using a compass and instructed the messenger to give that to the Pope.[2]

Many scholars today are uncertain about Giotto's training, and consider that Vasari's story that he was Cimabue's pupil is legendary, citing early sources which suggest that Giotto was not Cimabue's pupil.[7] Giotto's art shares many qualities with Roman paintings of the later 13th century. Cimabue may have been working in Rome in this period, and there was an active local school of fresco painters, of whom the most famous was Pietro Cavallini. The famous Florentine sculptor and architect, Arnolfo di Cambio, was then also working in Rome.[2]

, the authorship of which is disputed.]]

Frescoes of the Upper Church at Assisi

From Rome, Cimabue went to Assisi to paint several large frescoes at the newly-built Basilica of St Francis of Assisi, and it is possible, but not certain, that Giotto went with him. The fresco cycle of the Life of St. Francis in the Upper Church is one of the most hotly disputed attributions in art history. The documents of the Franciscan Friars that relate to artistic commissions during this period were destroyed by Napoleon's troops, who stabled horses in the Upper Church of the Basilica, and scholars have been divided over whether or not Giotto was responsible for the Francis Cycle. In the absence of documentary evidence to the contrary, it has been convenient to ascribe every fresco in the Upper Church that was not obviously by Cimabue, to Giotto, whose prestige has overshadowed that of almost every contemporary. Some of the earliest remaining biographical sources, such as Ghiberti and Riccobaldo Ferrarese, suggest that the fresco cycle of the life of St Francis in the Upper Church was his earliest autonomous work.[8] However, since the idea was put forward by the German art historian, Friedrich Rintelen in 1912,[9] many scholars have expressed doubt that Giotto was in fact the author of the Upper Church frescoes. Without documentation, arguments on the attribution have relied upon connoisseurship, a notoriously unreliable "science."[10] Recently, however, technical examinations and comparisons of the workshop painting processes at Assisi and Padua have provided strong evidence that Giotto did not paint the St. Francis Cycle.[11] There are many differences between the Francis Cycle and the Arena Chapel frescoes that are difficult to account for by the stylistic development of an individual artist. It seems quite possible that several hands painted the Assisi frescoes, and that the artists were probably from Rome. If this is the case, then Giotto's frescoes at Padua owe much to the naturalism of these painters.[6]

Other attributions

of Rimini.]]

The authorship of a large number of panel paintings ascribed to Giotto by Vasari, among others, is as broadly disputed as the Assisi frescoes.[12] According to Vasari, Giotto's earliest works were for the Dominicans at Santa Maria Novella. These include a fresco of the Annunciation and the enormous suspended Crucifix, which is about 5 metres high.[2] It has been dated around 1290 and is therefore contemporary with the Assisi frescoes.[13] Other early works are the San Giorgio alla Costa Madonna and Child now in the Diocesan Museum of Santo Stefano al Ponte, Florence, and the signed panel of the Stigmatization of St. Francis, from Pisa today in the Louvre.

In 1287, at the age of about 20, Giotto married Ricevuta di Lapo del Pela, known as "Ciuta". The couple had numerous children, (perhaps as many as eight) one of whom, Francesco, became a painter.[6] Giotto worked in Rome in 1297–1300, but few traces of his presence there remain today. The Basilica of San Giovanni in Laterano houses a small portion of a fresco cycle, painted for the Jubilee of 1300 called by Boniface VIII. In this period he also painted the Badia Polyptych, now in the Uffizi, Florence.[2]

Giotto's fame as a painter spread. He was called to work in Padua, and also in Rimini, where today only a Crucifix remains in the Church of St. Francis, painted before 1309.[2] This work influenced the rise of the Riminese school of Giovanni and Pietro da Rimini. According to documents of 1301 and 1304, Giotto by this time possessed large estates in Florence, and it is probable that he was already leading a large workshop and receiving commissions from throughout Italy.[6]

]]

The Scrovegni Chapel

Around 1305 Giotto executed his most influential work, the painted decoration of the interior of the Scrovegni Chapel in Padua. The chapel was commissioned by Enrico degli Scrovegni to serve as a family worship and burial space, even though his parish church was nearby; its construction caused some consternation among the clerics at the Eremitani church next door.[14] This chapel is externally a very plain building of pink brick which was constructed next to an older palace that Scrovegni was restoring for himself. The palace, now gone, and the chapel were on the site of a Roman arena, for which reason it is commonly known as the Arena Chapel.[6]

The theme is Salvation, and there is an emphasis on the Virgin Mary, as the chapel is dedicated to the Annunciation and to the Virgin of Charity. As is common in the decoration of the medieval period in Italy, the west wall is dominated by the Last Judgement. On either side of the chancel are complementary paintings of the Angel Gabriel and the Virgin Mary, depicting the Annunciation. This scene is incorporated into the cycles of The Life of the Blessed Virgin Mary and The Life of Christ. The source for The Life of the Virgin is the Golden Legend of Jacopo da Voragine while The Life of Christ draws upon the Meditations on the Life of Christ by the Pseudo-Bonaventura. The frescoes are more than mere illustrations of familiar texts, however, and scholars have found numerous sources for Giotto's interpretations of sacred stories.[15]

The cycle is divided into 37 scenes, arranged around the lateral walls in 3 tiers, starting in the upper register with the story of Joachim and Anna, the parents of the Virgin and continuing with the story of Mary. The life of Jesus occupies two registers. The Last Judgment fills the entire pictorial space of the counter-façade.

While Cimabue painted in a manner that is clearly Medieval, having aspects of both the Byzantine and the Gothic, Giotto's style draws on the solid and classicizing sculpture of Arnolfo di Cambio. Unlike Cimabue and Duccio, Giotto's figures are not stylized or elongated and do not follow set Byzantine models. They are solidly three-dimensional, have faces and gestures that are based on close observation, and are clothed not in swirling formalized drapery, but in garments that hang naturally and have form and weight. Although aspects of this trend in painting had already appeared in Rome in the work of Pietro Cavallini and at Assisi, Giotto took it so much further that he earned the reputation for setting a new standard for representational painting.

, Cappella degli Scrovegni.]] The heavily sculptural figures occupy compressed settings with naturalistic elements, often using forced perspective devices so that they resemble stage sets. This similarity is increased by Giotto's careful arrangement of the figures in such a way that the viewer appears to have a particular place and even an involvement in many of the scenes. This dramatic immediacy was a new feature, which is also seen to some extent in the Upper Church at Assisi.

Famous narratives in the series include the Adoration of the Magi, in which a comet-like Star of Bethlehem streaks across the sky. Giotto is thought to have been inspired by the 1301 appearance of Halley's comet, which led to the name Giotto being given to a 1986 space probe to the comet. Another famous scene is the Lamentation, in which Giotto adapted the traditional Byzantine iconography of the scene to create an emotional representation that draws the viewer into the sacred narrative.

Giotto's depiction of the human face and emotion sets his work apart from that of his contemporaries. When the disgraced Joachim returns sadly to the hillside, the two young shepherds look sideways at each other. The soldier who drags a baby from its screaming mother in the Massacre of the Innocents does so with his head hunched into his shoulders and a look of shame on his face. The people on the road to Egypt gossip about Mary and Joseph as they go. Of Giotto's realism, the 19th century English critic John Ruskin said "He painted the Madonna and St. Joseph and the Christ, yes, by all means ... but essentially Mamma, Papa and Baby."[6]

Other works in Padua

Among those frescoes in Padua which have been lost are those in the Basilica of. St. Anthony[16] and the Palazzo della Ragione,[17] which are however from a later sojourn in Padua.

Numerous painters from northern Italy were influenced by Giotto's work in Padua including Guariento, Giusto de' Menabuoi, Jacopo Avanzi, and Altichiero.

Mature works

From 1306 to 1311 Giotto was in Assisi, where he painted frescoes in the transept area of the Lower Church, including The Life of Christ, Franciscan Allegories and the Maddalena Chapel, drawing on stories from the Golden Legend and including the portrait of bishop Teobaldo Pontano who commissioned the work. Several assistants are mentioned, including one Palerino di Guido. However, the style demonstrates developments from Giotto's work at Padua.[6]

In 1311 Giotto returned to Florence, A document from 1313 shows his presence in Rome, where he executed a mosaic for the façade of the old St. Peter's Basilica, commissioned by Cardinal Giacomo or Jacopo Stefaneschi and now lost except for some fragments.

The Ognissanti Madonna

In Florence, where documents from 1314–1327 attest to his financial activities, Giotto painted an altarpiece known as the Ognissanti Madonna and now in the Uffizi where it is famously exhibited beside Cimabue's Santa Trinita Madonna and Duccio's Rucellai Madonna.[6] The Ognissanti altarpiece is the only panel painting by Giotto that has been universally accepted by scholars, and this despite the fact that it is undocumented. It was painted for the church of the Ognissanti (all saints) in Florence, which was built by an obscure religious order known as the Humiliati.[18] It is an exceedingly large painting (10+ feet), and scholars are divided on whether it was made for the main altar of the church, where it would have been viewed primarily by the brothers of the order or for the choir screen, where it would have been more easily seen by a lay audience.[19]

At this time he also painted the Dormition of the Virgin, now in the Berlin Gemäldegalerie and the Crucifix in the Church of Ognissanti.

The Santa Croce Chapels

According to Lorenzo Ghiberti, Giotto painted chapels for four different Florentine families in the church of Santa Croce, although he does not identify which chapels they were.[20] It is only with Vasari that the four chapels are identified: the Bardi Chapel (Life of St. Francis), the Peruzzi Chapel (Life of St. John the Baptist and St. John the Evangelist, perhaps including a polyptych of Madonna with Saints now in the Museum of Art of Raleigh, North Carolina) and the lost Giugni Chapel (Stories of the Apostles) and the Tosinghi Spinelli Chapel (Stories of the Holy Virgin).[21] As with almost everything in Giotto's career, the dates of the fresco decorations that survive in Santa Croce are disputed. The Bardi Chapel, immediately to the right of the main chapel of the church, was painted in true fresco, and to some scholars the simplicity of its settings seems relatively close to those of Padua, while the Peruzzi Chapel's more complex settings suggest a later date.[22] The Peruzzi Chapel is adjacent to the Bardi Chapel and was largely painted a secco. This technique, quicker but less durable than true fresco, has resulted in a fresco decoration that survives in a seriously deteriorated condition. Scholars who date this cycle earlier in Giotto's career see the growing interest in architectural expansion that it displays as close to the developments of the giottesque frescoes in the Lower Church at Assisi, while the Bardi frescoes have a new softness of color that indicates the artist going in a different direction, probably under the influence of Sienese art, and so must be a later development.[23]

The Peruzzi Chapel pairs 3 frescoes from the life of St. John the Baptist (The Annunciation of John's Birth to his father Zacharias; The Birth and Naming of John; The Feast of Herod) on the left wall with 3 scenes from the life of St. John the Evangelist (The Visions of John on Ephesus; The Raising of Drusiana; The Ascension of John) on the right wall. The choice of scenes has been related to both the patrons and the Franciscans.[24] Because of the serious condition of the frescoes, it is difficult to discuss Giotto's style in the chapel, although the frescoes show signs of his typical interest in controlled naturalism and psychological penetration. The Peruzzi Chapel was especially renowned during Renaissance times. Giotto's compositions influenced Masaccio's Cappella Brancacci, and Michelangelo is known to have studied the frescoes.

the Mourning of St. Francis.]]

The Bardi Chapel is of particular interest as it depicts the life of St. Francis, following a similar iconography to the frescoes in the Upper Church at Assisi, dating from 20–30 years earlier. A comparison makes apparent the greater attention given by Giotto to expression in the human figures and the simpler, better-integrated architectural forms. Giotto represents only 7 scenes from the saint's life here, and the narrative is arranged somewhat unusually. The story starts on the upper left wall with St. Francis Renounces his Father. It continues across the chapel to the upper right wall with the Approval of the Franciscan Rule, moves down the right wall to the Trial by Fire, across the chapel again to the left wall for the Appearance at Arles, down the left wall to the Death of St. Francis, and across once more to the posthumous Visions of Fra Agostino and the Bishop of Assisi. The Stigmatization of St. Francis, which chronologically belongs between the Appearance at Arles and the Death, is located outside the chapel, above the entrance arch. This arrangement encourages viewers to link scenes together: to pair frescoes across the chapel space or relate triads of frescoes along each wall. These linkings suggest meaningful symbolic relationships between different events in St. Francis's life.[25]

The Stefaneschi Triptych

(Florence)]]

In 1320 Giotto finished the Stefaneschi Triptych, now in the Vatican Museum, for Cardinal Giacomo (or Jacopo) Gaetano Stefaneschi, who also commissioned him to decorate the apse of St. Peter's with a cycle of frescoes that were destroyed during the 16th century renovation. According to Vasari, Giotto remained in Rome for six years, subsequently receiving numerous commissions in Italy and in the Papal seat at Avignon, though some of these works are now recognized to be by other artists.

Late Works

In 1328, after completing the Baroncelli Polyptych, he was called by King Robert of Anjou to Naples, where he remained with a group of pupils until 1333. In Naples few of his works have survived: a fragment of a fresco portraying the Lamentation of Christ in the church of Santa Chiara, and the Illustrious Men painted on the windows of the Santa Barbara Chapel of Castel Nuovo (which are usually attributed to his pupils). In 1332 King Robert named him "first court painter" with a yearly pension.

After Naples Giotto stayed for a while in Bologna, where he painted a Polyptych for the church of Santa Maria degli Angeli, and, according to the sources, a lost decoration for the Chapel in the Cardinal Legate's Castle.[2]

In 1334 Giotto was appointed chief architect to Florence Cathedral, of which the Campanile (founded by him on July 18, 1334) bears his name, but was not completed to his design.[6]

Before 1337 he was in Milan with Azzone Visconti, though no trace of works by him remain in the city. His last known work (with assistants' help) is the decoration of Podestà Chapel in the Bargello, Florence.[6]

In his final years Giotto had become friends with Boccaccio and Sacchetti, who featured him in their stories. In The Divine Comedy, Dante acknowledged the greatness of his living contemporary through the words of a painter in Purgatorio (XI, 94–96): "Cimabue believed that he held the field/In painting, and now Giotto has the cry,/ So the fame of the former is obscure."[3]

.(digitally restored)]]

Remains

Giotto died in January of 1337. According to Vasari,[2] Giotto was buried in Santa Maria del Fiore, the Cathedral of Florence, on the left of the entrance and with the spot marked by a white marble plaque. According to other sources, he was buried in the Church of Santa Reparata. These apparently contradictory reports are explained by the fact that the remains of Santa Reparata lie directly beneath the Cathedral and the church continued in use while the construction of the cathedral was proceeding in the early 14th century.

During an excavation in the 1970s bones were discovered beneath the paving of Santa Reparata at a spot close to the location given by Vasari, but unmarked on either level. Forensic examination of the bones by anthropologist Francesco Mallegni and a team of experts in 2000 brought to light some facts that seemed to confirm that they were those of a painter, particularly the range of chemicals, including arsenic and lead, both commonly found in paint, that the bones had absorbed.[26]

The bones were those of a very short man, of little over four feet tall, who may have suffered from a form of congenital dwarfism. This supports a tradition at the Church of Santa Croce that a dwarf who appears in one of the frescoes is a self portrait of Giotto. On the other hand, a man wearing a white hat who appears in the Last Judgement at Padua is also said to be a portrait of Giotto. The appearance of this man conflicts with the image in Santa Croce.[26]

Vasari, drawing on a description by Boccaccio, who was a friend of Giotto, says of him that "there was no uglier man in the city of Florence" and indicates that his children were also plain in appearance. There is a story that Dante visited Giotto while he was painting the Arena Chapel and, seeing the artist's children underfoot asked how a man who painted such beautiful pictures could create such plain children, to which Giotto, who according to Vasari was always a wit, replied "I made them in the dark."[2]

Forensic reconstruction of the skeleton at Santa Reperata showed a short man with a very large head, a large hooked nose and one eye more prominent than the other. The bones of the neck indicated that the man spent a lot of time with his head tilted backwards. The front teeth were worn in a way consistent with frequently holding a brush between the teeth. The man was about 70 at the time of death.[26]

While the Italian researchers were convinced that the body belonged to Giotto and it was reburied with honour near the grave of Brunelleschi, others have been highly sceptical.[27]

Gallery

Footnotes

References

  • Eimerl, Sarel. The World of Giotto, Time-Life Books, (1967), ISBN 0-900658-15-0
  • Previtali, G. Giotto e la sua bottega (1993)
  • Vasari, Giorgio.
    • Le vite de più eccellenti pittori, scultori e architetti (1568)
    • Lives of the Artists, trans. George Bull, Penguin Classics, (1965) ISBN 0-14-044-164-6

Other reading

  • Ladis, Andrew. Giotto's O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel (Pennsylvania State UP, 2009)
  • Land, Norman. Giotto as an Ugly Genius: A Study in Self-Portrayal, in Andrew Ladis, ed., Giotto as a Historical and Literary Figure: Miscellaneous Studies, 4 vols. (Vol. 1: Giotto and the World of Early Italian Art), Garland Publishing, New York, 1998: 183 – 196.
  • Pisani, Giuliano.
    • L’ispirazione filosofico-teologica nella sequenza Vizi-Virtù della Cappella degli Scrovegni, «Bollettino del Museo Civico di Padova», XCIII, 2004, Milano 2005, pp. 61–97.
    • Terapia umana e divina nella Cappella degli Scrovegni, «Il Governo delle cose», dir. Franco Cardini, Firenze, n. 51, anno VI, 2006, pp. 97–106.
    • L’iconologia di Cristo Giudice nella Cappella degli Scrovegni di Giotto, «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 45–65.
    • Le allegorie della sovrapporta laterale d’accesso alla Cappella degli Scrovegni di Giotto, «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 67–77.
    • Il miracolo della Cappella degli Scrovegni di Giotto, in ModernitasFestival della modernità (Milano 22-25 giugno 2006), Spirali, Milano 2006, pp. 329–57.
    • Una nuova interpretazione del ciclo giottesco agli Scrovegni, «Padova e il suo territorio», XXII, 125, 2007, pp. 4–8.
    • I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni, Rizzoli, Milano 2008.
    • Il programma della Cappella degli Scrovegni, in Giotto e il Trecento, by A. Tomei, Skira, Milano 2009, I – I saggi, pp. 113–127.

External links

Note: while reproductions of paintings at external sites are valuable, attributions may be misleading. Any website that shows, without question, the frescoes of the Upper Church of St. Francis of Assisi as being the work of Giotto, is ignoring modern scholarship on the matter. Any website that claims Giotto was placed in charge of the decoration of the Upper Church or was selected as the "most suitable" artist for its decoration is making a claim based on lack of evidence. If records of the commissions existed, they may have been lost. The early documents held by the church have been destroyed.[citation needed]


Simple English

Giotto
File:Uffizi
Statue of Giotto outside the Uffizi by Giovanni Duprè
Birth name Giotto di Bondone
Born c. 1267
near Florence, Italy
Died January 8, 1337 (Aged about 70)
Florence, Italy
Nationality Italian
Field Painting, Fresco
Movement Gothic
Works Scrovegni Chapel frescoes, Campanile

Giotto di Bondone (c.1267January 8 1337), usually known as Giotto, was an Italian painter and architect from Florence. He is generally thought of as the first in a line of great artists of the Italian Renaissance.

Giovanni Villani, who lived at the same time as Giotto, wrote that he was the king of painters, who drew all his figures as if they were alive. Villani says that, because he was so clever, the city of Florence gave him a salary.[1]

In the 16th century, the biographer Giorgio Vasari says that Giotto changed painting from the Byzantine style of other artists of his day, and brought to life the great art of painting as it was made by the later Renaissance painters like Leonardo da Vinci. This was because Giotto drew his figures from life, rather than copying the style them from old well-known pictures in the way that the Byzantine artists like Cimabue and Duccio did.[2]

Giotto's greatest work is the decoration of the Scrovegni Chapel in Padua, finished around 1305. The building is sometimes called the "Arena Chapel" because it is on the site of an Ancient Roman arena. This fresco series shows the life of the Virgin and the life of Christ. It is thought of as one of the greatest masterpieces of the Early Renaissance.[3]

Although Vasari wrote about Giotto's life, it is not known how many of the stories are true, because Vasari was writing more than 200 years after Giotto died. Only two things are known for certain. It is known that in 1334 Giotto was chosen by the "commune" (town council) of Florence to design the bell tower next to Florence Cathedral which was being built at that time. It is also known for certain that Giotto painted the "Arena Chapel". But no-one can be certain where he was born, who his teacher was, what he looked like, whether he really painted the famous frescos at Assisi or where he was buried when he died.

Contents

Biography

Early years

Giotto was probably born in a hilltop farmhouse, perhaps at Colle di Romagnano or Romignano;[4] He was the son of a well-respected man named Bondone. His name Giotto might have been a nickname from Ambrogiotto (little Ambrose) or Angelotto (little Angelo).[5] The year of his death is 1337, but the year of his birth (1267) is based on a poem by Antonio Pucci, the town crier of Florence, who said that Giotto was seventy when he died. Some people think that Pucci just used seventy because it fitted the rhyme of his poem, and that perhaps Giotto was a quite different age when he died. [5]

In his Lives of the Artists, Giorgio Vasari tells the story of how Giotto was a shepherd boy, a merry and intelligent child who was loved by all who knew him. One day the great Florentine painter Cimabue passed by and saw him drawing pictures of his sheep on a rock. They were so lifelike that Cimabue asked Bondone if he could take the boy as an apprentice.[2] Many art historians think this story is just a legend. They think that Giotto's family was quite rich, and they moved to Florence where Giotto was sent to Cimabue's workshop as an apprentice.

Vasari tells several stories to show how clever Giotto was, and what a sense of humour he had. Vasari writes that when Cimabue was away from the workshop, Giotto painted a fly on the face of the painting that his master was working on. When Cimabue came back, he tried several times to brush the fly off.

Vasari also tells the story that the Pope wanted to see if Giotto would be a good artists to paint some important pictures. The Pope sent a messenger asking Giotto to send him back a small picture. Instead of doing a painting, which would take many days, Giotto drew, in red paint, a circle that was so perfect that it seemed as though it was drawn using a pair of compasses. Giotto told the messenger to give that to the Pope.[2]

Early career

File:Giotto di Bondone
The Crucifixion of Rimini.

Giotto's master, Cimabue, was one of the two most famous painters of Tuscany. He worked in Florence, while the other famous painter, Duccio, worked mainly in Siena. Around 1280, Giotto and Cimabue went to Rome, where there were several fresco painters. The most famous painter in Rome was Pietro Cavallini. The famous sculptor and architect from Florence, Arnolfo di Cambio, was also working in Rome.[2] Giotto would have seen the paintings and sculpture by these different artists. Pietro Cavallini's paintings and Arnolfo's sculpture was far more realistic and three-dimensional than the paintings by Giotto's teacher Cimabue.

From Rome, Giotto's teacher Cimabue went to Assisi to paint several large frescoes at the "Upper Church" of the newly-built Basilica of St. Francis of Assisi. Through the 19th century,and for much of the 20th century it was believed that Giotto had also painted a famous series of frescos in the "Upper Church". These pictures show the "Life of St. Francis". From 1912, some art historians who studied these frescos more closely, decided that they were the work of several different artists (probably four), probably from Rome, and that probably none of the pictures were by Giotto.[6] Nowadays, most art historians agree with this, but some books and some websites continue to say that these paintings are by Giotto.[5] All the papers that belonged to the monastery were destroyed by Napoleon's soldiers, so there is no record of which artist was paid to do the job.

Vasari wrote that Giotto's earliest works were for the Dominican Friars at the Church of Santa Maria Novella in Florence. These paintings include a fresco of the Annunciation and the enormous suspended Crucifix which is about 5 metres high painted in about 1290[2] In 1312, a rich Florentine gentleman called Ricuccio Pucci left money in his will so that a lamp could be kept burning before the crucifix "by the illustrious painter Giotto".

In 1287, when he was about 20, Giotto married Ricevuta di Lapo del Pela, known as "Ciuta". The couple had many children, perhaps eight. One of the sons, Francesco, became a painter.[5] Giotto's fame as a painter spread. He was called to work in Rome, Padua, and Rimini, where his Crucifix can be seen in the Church of St Francis.(See right)[2] Giotto became rich enough to buy land in the wealthy city of Florence. This probably means that he was the master of a large workshop.[5]

The Scrovegni Chapel

Giotto's most famous works are the fresco paintings in the Scrovegni Chapel in Padua. These were painted sometime between 1303 and 1310. The Scrovegni Chapel is often called the Arena Chapel because it is on the site of an Roman arena.

Giotto was "commissioned" (given the work) by a rich Paduan man called Enrico degli Scrovegni. Enrico built the chapel and had it painted as a place to pray for the soul of his dead father. It was next to a very old palace that Enrico ws restoring to live in. The palace has gone now, but the chapel is still standing. The outside of the building is very plain, pinkish-red bricks. [5]

The inside of the chapel is also very simple. It is long, with a chancel at one end where a priest can say the mass, an arched roof and windows down one side. The walls have been painted with three tiers (layers) of pictures. The "theme" (the main idea) in the pictures is God's Salvation of people through Jesus Christ.

In the usual way for churches of that date, the wall above the main door has a large painting of the Last Judgement. At the other end of the building, on either side of the chancel archway are paintings of the Annunciation. One side shows the Virgin Mary and the other side show the Angel Gabriel who is bringing her the message that she will have a son, Jesus.

Around the walls, starting at the top layer, are scenes which tell the life of the Virgin Mary. Under them, in two layers, are the stories of the life of Jesus. There are 37 scenes altogether.

About the paintings

Giotto's master Cimabue painted in a Medieval style. But Giotto's paintings look quite different. The writer Giorgio Vasari says that Giotto brought about a complete change in painting, with a more natural style. Giotto would have seen the paintings of Pietro Cavallini and some Ancient Roman sculpture, on his visit to Rome. He also saw the sculpture of Arnolfo di Cambio who worked in Florence. The style of these sculptured figures was solid and natural, not "elongated" (made longer) like most Medieval sculptured and painted figures.

The figures that Giotto painted are solid and three-dimensional. They have anatomy, faces and actions that look very natural, because they have been drawn from looking at real people. The clothes of the figures are not arranged to form a beautiful pattern, like the clothes in Cimabue's paintings. They fit the figures and hang in a natural way like real clothes. This more natural way of showing people was started by Pietro Cavallini, but Giotto took the new ideas much further.

File:Giotto - Scrovegni - -36- - Lamentation (The Mourning of Christ).jpg
The Lamentation of Christ, Cappella degli Scrovegni.

In the paintings around the walls of the Scrovegni Chapel, each scene looks like a shallow stage with actors on it. There are always some buildings or landscape such as a rocky hill, so that the viewer can see where the action is happening. The figures in each scene are carefully arranged so that the viewer can imagine that they are right there, taking part in the action.

The figures are not just shown with natural bodies, clothing and action. Giotto is a brilliant story-teller, because he shows the emotions of the characters in each painting, in both their faces and their "gestures" (body movement).

  • One picture shows old Joachim returning to the hillsides, looking sad because he can have no children. Two young shepherds look sideways at each other.
  • Another picture, shows the dreadful scene of the murder of the babies of Bethlehem. There is a soldier who has his head hunched down, and a look of shame as he pulls a baby away from its screaming mother.
  • In the picture of Mary and Joseph on the way to Egypt, the people who are walking behind them are gossiping about them, as they go.
  • The most famous of the paintings, the "Lamentation over the Body of Christ", is shown the deep sadness of Jesus' mother and friends, as they get His body ready to be buried. On Earth, the people crying and moaning, while in Heaven, the angels are roaring and shrieking and tearing their hair in grief.

A famous English critic of the 1800s, John Ruskin, said that while Giotto painted the Madonna and St. Joseph and the Christ Child, he also painted them to look like an ordinary "Mamma, Papa and Baby."[5]

Giotto had pupils who copied his style. Many other artists were influence by him. These painters include Guariento, Giusto de' Menabuoi, Jacopo Avanzi, and Altichiero. In the next hundred years, there were many churches and chapels painted with scenes like the ones that Gitto painted. The Scrovegni Chapel paintings were so famous that many other artists, such as Michelangelo, who lived 200 years later, made drawing or copies of them.

File:Giotto di Bondone
The Uffizi Ognissanti Madonna.

Mature works

From 1306 to 1311 Giotto was in Assisi, painting frescoes in the Lower Church. The paintings are about The Life of Christ, the Teachings of the Franciscan Friars and The Lives of the Saints.[5]

In 1311 Giotto returned to Florence. In 1313 He went to Rome to design a mosaic for the façade (front) of the old St. Peter's Basilica. This was destroyed when the building was demolished.

From 1314 until 1327 Giotto lived in Glorence. At this time he pianted the famous altarpiece for the Ognissanti Church (Church of All Saints). This large tempera painting is called the Ognissanti Madonna. It is now in the Uffizi where it is exhibited beside Cimabue's Santa Trinita Madonna and Duccio's Rucellai Madonna.[5] Giotto also painted a very large Crucifix to hang in Ognissanti Church.

File:Giotto di Bondone
Bardi Chapel: the Mourning of St. Francis.

The sculptor Lorenzo Ghiberti wrote that in 1318 Giotto began to paint four Chapels at the Church of Santa Croce. The chapels were paid for by four different rich families and were given their names. Giotto painted the Life of St. Francis in the Bardi Chapel. He painted the Life of St. John the Baptist and the Life of St. John the Evangelist in the Peruzzi Chapel. He painted Stories of the Virgin Mary in the Tosinghi Spinelli Chapel and Stories of the Apostles in the Giugni Chapel. The Giugni Chapel has been destroyed. The Peruzzi Chapel was very famous during Renaissance times. More than 150 years later, Michelangelo came to studied Giotto's paintings. [2][3][5]

Later life

In 1320 Giotto finished the Stefaneschi Triptych, now in the Vatican Museum, for Cardinal Jacopo, who also commissioned him the decoration of St. Peter's apse, with a cycle of frescoes destroyed during the 16th century renovation. According to Vasari, Giotto remained in Rome for six years, subsequently receiving numerous commissions in Italy and in the Papal seat at Avignon, though some of these works are now recognized to be by other artists. [[File:|thumb|220px|Campanile di Giotto (Florence).]] In 1328, after completing the Baroncelli Polyptych, he was called by King Robert of Anjou to Naples, where he remained with a group of pupils until 1333. In Naples few of his works have survived: a fragment of a fresco portraying the Lamentation of Christ in the church of Santa Chiara, and the Illustrious Men painted on the windows of the Santa Barbara Chapel of Castel Nuovo (which are usually attributed to his pupils). In 1332 King Robert named him "first court painter" with a yearly pension.

After Naples Giotto stayed for while in Bologna, where he painted a Polyptych for the church of Santa Maria degli Angeli, and, according to the sources, a lost decoration for the Chapel in the Cardinal Legate's Castle.[2]

In 1334 Giotto was appointed chief architect to Florence Cathedral, of which the Campanile (founded by him on July 18 1334) bears his name, but was not completed to his design.[5]

Before 1337 he was in Milan with Azzone Visconti, though no trace of works by him remain in the city. His last known work (with assistants' help) is the decoration of Podestà Chapel in the Bargello, Florence.[5]

In his final years Giotto had become friends with Boccaccio and Sacchetti, who featured him in their stories. In The Divine Comedy, Dante acknowledged the greatness of his living contemporary through the words of a painter in Purgatorio (XI, 94–96): "Cimabue believed that he held the field/In painting, and now Giotto has the cry,/ So the fame of the former is obscure."[3]

Giotto's remains

Giotto died in January of 1337. According to Vasari,[2] Giotto was buried in Santa Maria del Fiore, the Cathedral of Florence, on the left of the entrance and with the spot marked by a white marble plaque. According to other sources, he was buried in the Church of Santa Reparata. These apparently contradictory reports are explained by the fact that the remains of Santa Reparata lie directly beneath the Cathedral and the church continued in use while the construction of the cathedral was proceeding in the early 14th century.

During an excavation in the 1970s bones were discovered beneath the paving of Santa Reparata at a spot close to the location given by Vasari, but unmarked on either level. Forensic examination of the bones by anthropologist Francesco Mallegni and a team of experts in 2000 brought to light some facts that seemed to confirm that they were those of a painter, particularly the range of chemicals, including arsenic and lead, both commonly found in paint, that the bones had absorbed.[7]

File:Giotto face
A possible contender as an image of Giotto is this face from the decoration of the Peruzzi Chapel.(digitally restored)

The bones were those of a very short man, of little over four feet tall, who may have suffered from a form of congenital dwarfism. This supports a tradition at the Church of Santa Croce that a dwarf who appears in one of the frescoes is a self portrait of Giotto. On the other hand, a man wearing a white hat who appears in the Last Judgement at Padua is also said to be a portrait of Giotto. The appearance of this man conflicts with the image in Santa Croce.[7]

Vasari, drawing on a description by Boccaccio, who was a friend of Giotto, says of him that "there was no uglier man in the city of Florence" and indicates that his children were also plain in appearance. There is a story that Dante visited Giotto while he was painting the Arena Chapel and, seeing the artist's children underfoot asked how a man who painted such beautiful pictures could create such plain children, to which Giotto, who according to Vasari was always a wit, replied "I made them in the dark."[2]

Forensic reconstruction of the skeleton at Santa Reperata showed a short man with a very large head, a large hooked nose and one eye more prominent than the other. The bones of the neck indicated that the man spent a lot of time with his head tilted backwards. The front teeth were worn in a way consistent with frequently holding a brush between the teeth. The man was about 70 at the time of death.[7]

While the Italian researchers were convinced that the body belonged to Giotto and it was reburied with honour near the grave of Brunelleschi, others have been highly skeptical.[8]

Gallery

References

  • G.Previtali, Giotto e la sua bottega (1993)
  • Giorgio Vasari, Le vite de più eccellenti pittori, scultori e architetti (1568)
  • Giorgio Vasari, Lives of the Artists, trans. George Bull, Penguin Classics, (1965) ISBN 0-14-044164-6
  • Sarel Eimerl, The World of Giotto, Time-Life Books, (1967), ISBN 0-900658-15-0

Other reading

  • Norman Land, Giotto as an Ugly Genius: A Study in Self-Portrayal, in Andrew Ladis, ed., Giotto as a Historical and Literary Figure: Miscellaneous Studies, 4 vols. (Vol. 1: Giotto and the World of Early Italian Art), Garland Publishing, New York, 1998: 183 – 196.

Footnotes

Other websites

Note: while the reproductions of paintings at external sites are valuable, attributions may be misleading. Any website that shows, without question, the frescoes of the Upper Church of St. Francis of Assisi as being the work of Giotto is ignoring modern scholarship on the matter. Any website that claims that Giotto was placed in charge of the decoration of the Upper Church or was selected as the "most suitable" artist for its decoration is making an unsourced claim. If records of the commissions existed, (and they probably did) they have been destroyed along with other documents belonging to the church at that period. (see above)

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