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Giotto and Duccio
The Arena Chapel (Scrovegni) of Giotto (1303) and Duccio's Maesta (1308) are both masterpieces of medieval European art. The Arena chapel contains the fresco cycle and is indicative of the movement towards a more humanistic view of religiosity, while the maestro is a large altarpiece that includes multiple images. Both have a similar subject but were constructed with divergent intentions and distinctive artistic styles.
Giotto di Bondone was a late Middle Age painter and architect and contemporary of the famous writer Dante (The Divine Comedy). Historians comment on his importance as a leader in style and subject matter for generations of artists after him. From an art history perspective, he is important because he broke with the Byzantine style that was so prevalent in his time. In fact, may consider him to be a clear forerunning of the Italian Renaissance style of painting, with less stylized figures, more humanity in expression, and a greater willingness to experiment in color which added to the realism of the piece. He seems particularly adept at capturing the humanity of the individuals within his frescos. While the pictures are certainly stylized, and the requisite halo behind the appropriate religious figures (Jesus, Mary, etc.), he was able to bring humility...
He had a difficult life, was continually in debt, and most historians believe that he had to take on numerous compositions simply in order to survive. He, too, broke down the sharp lines of Byzantine art, softened the figures so they were more realistic, and used a technique of playing with light and dark colors to reveal figures underneath the heavy draped costumes, making the anatomical descriptions more rounded and 3-dimmensional (Kloss, Lecture 8,.2:04-4:55).
Duccio was still more Byzantine than Giotto, using gold backgrounds and familiar religious scenes that told stories. Remembering that many people could not read during this time period, these storyboards were an important way to retell and introduce biblical lore to the general population. Unlike many Byzantine paintings, though, Duccio's use of color makes the scene both more delicate and realistic, inviting the viewer's eye in as a participant. He was also noted for…
REFERENCES
Lectures from William Kloss, Thomas Edison State College. Retrieved February 2014 from:
http://www.youtube.com/watch?v=RQB5RVAmuZM
http://www.youtube.com/watch?v=pAx5xwIQF4M
http://www.youtube.com/watch?v=ITVmiVzNMv0
These remarks could be applied equally to anything in Giotto's oeuvre. The total effect of Giotto's work is one of bold religious feeling. It inspires the viewer to accept the mythology and challenges him to understand his relationship to the God both preached by the Church and challenged by heretics. Giotto's works, like Pisano's or Duccio's, certainly inspire religious feelings and thoughts. They are dignified, spiritual, and affirmative. They put
Art One-Point Linear Perspective in the Renaissance One-Point Linear Perspective in the Renaissance In the context of art, perspective is generally defined as "… the technique an artist uses to create the illusion of three dimensions on a flat surface" (Essak). Perspective is in essence an illusion of depth and realism in the work of art. It is also an intrinsic part of human evolutionary makeup. As Edgerton ( 2006) states, " Every
Botticelli's Birth Of Venus And Duccio's Maesta The representation of women in Western art has changed throughout history, and for much of Western history this representation was oriented around the dominant female figure in contemporary society; that is, Mary, mother of Jesus. However, the gradual shift away from a dominantly monotheistic cultural hegemony seen in the Renaissance and eventually the Enlightenment brought with it new (and the case of this study,
On the contrary, Giotto di Bondone had been a revolutionary, as he seemed to be determined to desert long-standing concepts in favor of newer, and more evolved ones. Byzantine paintings have a general tendency to represent scenes from a two-dimensional perspective, and, most probably, in order to compensate with the lack of spatial depth, they use a greater number of details. In Giotto's Christ Entering Jerusalem, viewers feel as if
Renaissance and early twentieth century art offer an interesting study in comparison because of their distinctive styles. It is the objective of this paper to describe the definitive characteristics of each period through comparing Raphael's Alba Madonna to Salvador Dali's The Persistence of Memory. Renaissance art is reputed for the unified balance achieved between pictorial considerations of measurable space and the effects of light and color on the one hand, and
Art The shift from Byzantine or Medieval art to the early Renaissance is perfectly demonstrated by examining the change in depictions of the Virgin Mary and the baby Jesus, or Madonna and Child, over time. What we see is a gradual tendency toward realistic depictions of human form, as a way of making religious art less remote and decorative, and more immediately related to actual human experience. We can begin with