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Giotto di Bondone (1267-1337). Florentine painter and architect. Outstanding as a painter, sculptor, and architect, Giotto was recognized as the first genius of art in the Italian Renaissance. Giotto lived and worked at a time when people's minds and talents were first being freed from the shackles of medieval restraint. He dealt largely in the traditional religious subjects, but he gave the subjects an earthly, full-blooded life and force.
The artist's full name was Giotto di Bondone. He was born about 1266 in the village of Vespignano, near Florence. His father was a small landed farmer. Giorgio Vasari, one of Giotto's first biographers, tells how Cimabue, a well-known Florentine painter, discovered Giotto's talents. Cimabue suppodly saw the 12-year-old boy sketching one of his father's sheep on a flat rock and was so impresd with his talent that he persuaded the father to let Giotto become his pupil. Another story is that Giotto, while apprenticed to a wool merchant in Florence, frequented Cimabue's studio so much that he was finally allowed to study painting.
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The earliest of Giotto's known works is a ries of frescoes (paintings on fresh, still wet plaster) on the life of St. Francis in the church at Assisi. Each fresco depicts an incident; the human and animal figures are realistic and the scenes expressive of the gentle spirit of this patron saint of animals. In about 1305 and 1306 Giotto painted a notable ries of 38 frescoes in the Arena Chapel in Padua. The frescoes illustrate the lives of Jesus Christ and of the Virgin Mary. Over the archway of the choir is a scene of the Court of Heaven, and a Last Judgment scene faces it on the entrance wall. The compositions are simple, the backgrounds are subordinated, and the faces are studies in emotional expression.
Vasari tells the story of how Pope Boniface VIII nt a mesnger to Giotto with a request for samples of his work. Giotto dipped his brush in red and with one continuous stroke painted a perfect circle. He then assured the mesnger that the worth of this sample would be recognized. When the pope saw it, he "instantly perceived that Giotto surpasd all other painters of his time."
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In Rome, Naples, and Florence, Giotto executed commissions from princes and high churchmen. In the Bargello, or Palace of the Podesta (now a muum), in Florence is a ries of his Biblical scenes. Among the bystanders in the paintings is a portrait of his friend the poet Dante. The Church of Santa Croce is adorned by Giotto murals depicting the life of St. Francis. 建模方法
In 1334 the city of Florence honored Giotto with the title of Magnus Magister (Great Master) and appointed him city architect and superintendent of public works. In this capacity he designed the famous campanile (bell tower). He died in 1337, before the work was finished.
Giotto was short and homely, and he was a great wit and practical joker. He was married and left six children at his death. Unlike many of his fellow artists, he saved his money and was accounted a rich man. He was on familiar terms with the pope, and King Robert of Naples called him a good friend.
In common with other artists of his day, Giotto lacked the technical knowledge of anatomy
儿童英语培训哪个好and perspective that later painters learned. Yet what he possd was infinitely greater than the technical skill of the artists who followed him. He had a grasp of human emotion and of what was significant in human life. In concentrating on the esntials he created compelling pictures of people under stress, of people caught up in cris and soul-arching decisions. Modern artists often ek inspiration from Giotto. In him they find a direct approach to human experience that remains valid for every age.
The Mourning of Christ
中英翻译网站Giotto is regarded as the founder of the central tradition of Western painting becau his work broke free from the stylizations of Byzantine art, introducing new ideals of naturalism and creating a convincing n of pictorial space. His momentous achievement was recognized by his contemporaries (Dante praid him in a famous passage of The Divine Comedy, where he said he had surpasd his master Cimabue), and in about 1400 Cennino Cennini wrote `Giotto translated the art of painting from Greek to Latin.'
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In spite of his fame and the demand for his rvices, no surviving painting is documented as being by him. His work, indeed, pos some formidable problems of attribution, but it is universally agreed that the fresco cycle in the Arena Chapel at Padua is by Giotto, and it forms the starting-point for any consideration of his work. The Arena Chapel (so-called becau it occupies the site of a Roman arena) was built by Enrico Scrovegni in expiation for the sins of his father, a notorious usurer mentioned by Dante. It was begun in 1303 and Giotto's frescos are usually dated c. 1305-06. They run right round the interior of the building; the west wall is covered with a Last Judgement, there is an Annunciation over the chancel arch, and the main wall areas have three tiers of paintings reprenting scenes from the life of the Virgin and her parents, St Anne and St Joachim, and events from the Passion of Christ. Below the scenes are figures personifying Virtues and Vices, painted to simulate stone reliefs -- the first grisailles. The figures in the main narrative scenes are about half-size, but in reproduction they usually look bigger becau Giotto's conception is so grand and powerful. His figures have a completely new n of three-dimensionality and physical prence, and in portraying the sacred events he creat
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amtces a feeling of moral weight rather than divine splendor. He ems to ba the reprentations upon personal experience, and no artist has surpasd his ability to go straight to the heart of a story and express its esnce with gestures and expressions of unerring conviction.
