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¶ … Human Figure in Art
The Ognissanti Madonna by Giotto, from around 1310. Tempera on panel. Located at the Uffizi Gallery in Florence.
Giotto's work is relevant of the transition period between Cimabue's work in the 13th century, with profound Byzantine influences, including in the figures, and the Early Renaissance of the 14th century in Italy. Stokstad (2004) notes the influences of Cimabue in this work by Giotto, including in terms of the symmetry of the painting. The Ogissanti Madonna is also relevant for that transition, particularly through the touches of realism that Giotto exercise here, including elements such as the marble throne on which the Madonna sits. The entire painting also surprises through its three-dimension depiction.
The human figure here is severe and serious, dominating the painting. It is very large in comparison to the other figures, perhaps to support its central role in the work (it is also in the middle of the painting). Despite the use of a three dimensional approach, the figure...
The placement of the eyes and nose also seem a bit ambiguous.
2. The Arnolfini Portrait by Jan van Eyck, from 1434. Oil on oak, located in the National Gallery of Art, in London
This painting from 1434 brings the figures outside a religious context and into a room, with elements surrounding them that makes this scene very familial and warm. Although there are particular elements of mystery, such as the mirror reflecting the rest of the room or the shape of the room (somewhat geometrical), the painting is realistic in portraying a household at a certain moment in its life. One can also note the perfect use of perspective, 100 years after Giotto's work- this appear even more rewarding, since it shows perspective techniques in a very small room/environment.
The figures here are very expressive, almost theatrical. It is believed that this is supposed to portray a marriage (hence the witnesses that are…
Bibliography
1. Stockstad, Marilyn, (2004). Art History. Prentice Hall.
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