Changes in the Human Figure in Art

¶ … 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 is not well proportioned: Giotto does not yet master this and the face seems longer than it naturally should. 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 seen in the mirror), which could explain why their faces are solemn. The technique appears much more exquisite: parts of the man's face are depicted in the shadow, while the eyes and the faces themselves are almost Asian in their features. It is not only a more accurate representation of the face, but also one that is intriguing for the viewer.

Even more than in Giotto's religious painting, the clothes and the surroundings have a clear purpose in emphasizing the figures, placed in the center of the work. 3. The Holy Trinity by Masaccio, from 1425. Fresco from the Church of Santa Maria Novella, in Florence. This painting is probably best known for the excellent use of perspective.

One can notice this not only in the way the figures are situated and presented in the painting, but the architectural elements come to emphasize this: the temple ceiling from behind the crucified Christ is a perfect example in this sense. At the same time, one can notice that the halos above Christ and the saints are still not painted in a perspective manner. The figures are reflective of religious paintings and particularly of this type.