Giotto
Know as “the great Giotto”, Giotto di Bondone was the leading artist at the start of Italy’s Renaissance and the Florentine School of painting. According to Giorgio Vasari ( – ), who dedicated a chapter to the painter in his The Lives of the Artists, Giotto was the tipping point of Italian art from the Byzantine style, into the Renaissance. It is said that that last great painter of the Byzantine era, Cimabue ( – ), discovered a young Giotto in his rawest form. As written by Vasari:
“One day Cimabue was going about his business between Florence and Vespignano, and he came upon Giotto who, while his sheep were grazing, was sketching one of them in a lifelike way with a slightly pointed rock upon a smooth and polished stone without having learned how to draw it from anyone other than Nature. This caused Cimabue to stop in amazement…”
It is from here that Cimabue brought Giotto into the bustling activity of the art world in Florence, where he excelled beyond measure of the time. How much of this story is true, is open for debate, but it is true that Giotto apprenticed in Cimabue’s studio in Florence. Vasari’s other account of Cimabue and Giotto tells of the young artist
Who was Giotto di Bondone? Giotto the artist is regarded as among the most influential artists in the history of Western art. Giotto di Bondone&#;s art introduced a new age in the arts that combined spiritual antiquity with the nascent notion of Renaissance Humanism, predating by a hundred years many of the fascinations and issues of the Italian High Renaissance. Furthermore, many historians feel that the painter Giotto&#;s effect on European art was unrivaled until Michelangelo assumed his role years later.
A Giotto di Bondone Biography
Giotto the artist is most known for probing the potentials of perspectives and aesthetic space, giving his religious stories a new sense of realism. Painter Giotto&#;s concern with humanism led him to investigate the contradiction between biblical imagery and the ordinary lives of lay worshipers, with the goal of bringing people nearer to God by creating art more appropriate to their personal experiences.
Giotto&#;s Renaissance characters were therefore imbued with an emotional intensity hitherto unseen in fine art, whereas his architectural surroundings were represented in accordance with optical rules of perspective an
Giotto di Bondone Biography
- Full Name:
- Giotto di Bondone
- Short Name:
- Giotto
- Date of Birth:
- Date of Death:
- Focus:
- Paintings
- Mediums:
- Tempera, Wood
- Subjects:
- Figure, Landscapes, Scenery
- Art Movement:
Renaissance
- Hometown:
Florence, Italy
Recipient of overwhelmingly universal acclaim in his day, the genius of Italian painter Giotto di Bondone is still felt today. Born in a tiny village outside Florence, his prodigious artistic ability was discovered when he was very young and his wealth and fame grew in leaps and bounds as his career progressed.
Di Bondone, commonly acknowledged as the father of the Renaissance because of his revolutionary painting techniques, spent his life decorating the religious houses of Italy with breathtaking detail and startlingly life-like subjects. Though little of his work remains today, Giotto di Bondone's contribution to modern art was massive, permanent and extremely important.Giotto di Bondone was an outgoing, intelligent child, well-liked by all who knew him. His cheerful disposition was complemented by an intense curiosity about his fellow humans, which would serve him well in the future.
Legend has it that on
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Giotto Di Bondone
One of the Greatest Painters Of All Time
Early Renaissance Florentine Painter and Architect
Stylistically influenced by the following painters - Coppo di Marcovaldo, Duccio di Buoninsegna, Cimabue, and Byzantine Style Painting
Education -apprentice toCimabue
Cause of Death - old age, he was 70
Mediums - Tempera on oak panel
Giotto's Biography
Giotto sent his formative years apprenticed to Cimabue. Author John C. Van Dyke asserted "Cimabue's pupil, Giotto, was a great improver on all his predecessors because he was a man of extraordinary genius. He would have been great in any time, and yet he was not great enough to throw off wholly the Byzantine traditions. He tried to do it. He studied nature in a general way, changed the type of face somewhat by making the jaw squarer, and gave it expression and nobility. To the figure he gave more motion, dramatic gesture, life. The drapery was cast in broader, simpler masses, with some regard for line, and the form and movement of
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