Cimabue and giotto relationship help

Giotto di Bondone | Art in Tuscany | Podere Santa Pia, Holiday house in the south of Tuscany

cimabue and giotto relationship help

Florentine painter Giotto revolutionized the depiction of the human form in the s, helping to usher in the Italian Renaissance. Cimabue is considered the master artist who trained Giotto in the art of painting. . the Virgin to the Temple so incredibly small in relation to the size of Anne that she could fall. Giotto has always been assumed to have been the pupil of Cimabue. in certain respects, so similar to Giotto's in intention that a connection seems inescapable. .. Certainty of the date of Giotto's birth, if settled by new documents, could help. Seven centuries ago, Giotto was famous for being famous. to promote this work by his pupil as a connection, albeit second-hand, with the master. Vasari, who relates how Cimabue discovered Giotto, tells how when Cimabue We are asking our US readers to help us raise $1 million dollars by the new.

It is no mere chance that the paintings ascribed to Giotto in the upper church at Assisi deal with the life of St. Francis, for there is a deep inner connection of soul between Giotto and Francis of Assisi — St. Francis, the religious genius, bringing forth out of a fervent life of soul his sympathy with all the growth of Nature upon Earth; and Giotto, imitating, to begin with, St.

Francis' way of feeling, St. Francis' way of entering into the spirit and soul of the world. Thus we see the stream of evolution leading on from Cimabue's rigid lines and two-dimensional conception, to Giotto, in whose work we see increasingly the portrayal of the natural, individual creature, the reality of things seen; we see things standing more and more in space, rather than speaking to us out of the flat surface. We will now give ourselves up to the immediate impression of Giotto's pictures, one by one.

We shall see his growing appreciation of the individual human character and figure. Giotto shows himself with all the greater emphasis inasmuch as his pictures deal with the sacred legend, and so he tries to reproduce in the outward expression the inmost and intensest life of the soul.

Now, therefore, we shall have before us a series of Giotto's pictures, beginning with those that are generally regarded as his earliest. You will still see in them the tradition of the former time, but along with it there is already the human element, in the way in which he knew it — the way that I have just described. San Francesco, Assisi 5. Alter-piece, Santa Croce, Florence. Presentation in the Temple, San Francesco, Assisi.

The Miracle of the Spring. Awakening of the Youth of Suessa. The Mourning for St. Francis by the Nuns. Thus gradually the whole life of St. Francis was painted by Giotto; and everywhere in his artistic work we find a feeling similar to that of St.

Even when you take the visionary elements in these pictures, you will see how his effort is in every case to paint them from within, so that the language of human feeling is far more in evidence than in the pictures of Cimabue, who was concerned only with the gazing inward of transcendent impulses from spheres beyond the Earth.

Again, in the faces themselves you will no longer find the mere traditional expression, but you will see in every case: The man who painted these pictures had really looked at the faces of men. Look at these last two pictures. Their inherent tenderness recalls to us the beautiful fact that is related of the life of St. He had long been working at his Hymn to Nature — the great and beautiful hymn throughout which he speaks of his brothers and his sisters, of sisters Sun and Moon and the other planets, and of all earthly creatures.

All that he had felt in loving, realistic devotion of his soul, in sympathy with Nature, is gathered up so wonderfully in this hymn. But the directness of his union with all earthly Nature finds expression most of all in this beautiful fact that the last verse wherein he addresses Brother Death was written in the very last days of his life. Francis could not sing the hymn of praise to Brother Death till he himself lay actually on his deathbed, when he called to his brothers that they should sing around him of the joys of death while he felt himself going out and out into that World which was now to receive his spirit.

It was only out of the immediate, realistic experience that St. Francis could and would describe his tender union with all the world.

Beautifully this is revealed in the fact that while he had sung the Hymn of Praise to all other things before, he only sang to Death when he himself was at Death's door. The last thing he dictated was the final verse of his great Hymn of Life, which is addressed to Brother Death, and shows how man, when he is thrown back upon himself alone, conceives the union of Christ with human life.

Surely it cannot be more beautifully expressed than in this picture, revealing the new conception of human life that was already pouring from out St.

Giotto, the world's first celebrity artist | Art and design | The Guardian

Francis, and showing how directly Giotto lived in the same aura of thought and feeling. Joachim and the Shepherds. I have inserted this later picture, so that you may see the progress Giotto made in his subsequent period of life. You see how the figures here are conceived still more as single human individuals.

In the period from which the former pictures were taken, we see the artist carried along, as it were, by the living impulses of St. Here in this picture, belonging as it does to a later period of his life, we see him coming more into his own. We will presently return to the pictures more immediately following his representations of St. Capella Madonna dell' Arena, Padua. This, too, is from his later period, showing a consideraby greater realism than before. Marriage of the Virgin. Capella Madonna dell'Arena, Padua.

Also of his later period. The Baptism of Christ. In such pictures we see how natural it was to the men of that age to express themselves in allegories. The conditions of life undergo immense changes in the course of centuries. It was a tremendous change when the life that had found expression in pictures at that time, passed over into that in which we live today, which takes its course more in thoughts and ideas communicated through the medium of books.

This was a far greater revolution than is generally realised. The desire to express oneself in allegories was especially strong in that age. It is most interesting to see how in such a case artistic realism is combined with the striving to make the whole picture like a Book of the World in which the onlooker may read. Francis submits the Rules of his Order to the Pope. This picture is related once more the earlier art of Giotto — springing as it does from his increasing entry into the whole world of feeling of St.

Beautifully we see how the artist seeks to represent the inner life of St. John, bringing forth out of his heart his inner connection with the great World. This, then, is St.

John, writing, or at least conceiving, the Apocalypse. The Raising of Lazarus. The Flight into Egypt. The Annunciation to St. The Resurrection of Christ. The Crowning with Thorns. We will insert, directly after this Madonna by Giotto, the Madonna by Cimabue which we have already seen, so that you may recognise the immense difference in the treatment of the sacred figure.

A star is born

Observe — despite the obvious persistence of the old tradition — the realism of this picture, in the eyes, the mouth, and the whole conception of the Jesus child.

We have before us human beings, copied from the reality of earthly life, looking out from the Earth into the World. Compare this with Cimabue's picture, where we rather have before us an original spiritual vision traditionally handed down — where Beings gaze from realms beyond the Earth into this world. However much in the composition is reminiscent of the former picture, you will see, even in the way the lines are drawn, the immense difference between the two. Capella Madonna dell' Arena.

Once more an allegorical picture. The former was an earlier work, while this belongs to a very late period in Giotto's life. We will now insert the previous one once more so that you may see the great progression. This picture is taken from the chapel in Padua, where Giotto returned once more to the former legend. Here, then, you see how he treats a very similar subject so far as the composition is concerned, at an earlier and at a much later stage in his career.

Observe the far greater freedom, the far greater power to enter into individual details which the later picture reveals.

The Feast of Herod. The Appearance in Arles. Birth and Naming of John the Baptist. Andrea da Firenze School of Giotto: Doctrine of the Church. Spanish Chapel, Santa Maria Novella. This picture, the Church Militant, is generally associated with the School of Giotto. Here you see the rise of that compositional element which was to play so great a part in the subsequent history of painting.

Quite a new inner life appears before us here. We may describe the difference somewhat as follows: If we consider the evolution of Christianity until the time of Dante and Giotto, we shall find a strong element of Platonism in its whole way of feeling. Far be it from me to mislead you into the belief that it contained the Platonic Philosophy; but Platonism, that is to say, a feeling and conception of the world which also finds expression in the philosophy of Plato, where man looks up into a sphere beyond the Earth, and does not carry into it anything that proceeds from the human intellect.

After Giotto's time a theological, Aristotelian element entered more and more into the Christian world of feeling. Once again I do not say the philosophy of Aristotle, but a theological, Aristotelian quality. Men tried, as it were, to see and summarise the world in systematic conceptions such as you see in this picture, rising upward from a world below to a middle and thence to a higher world.

Thus was the whole of life systematised through and through in an Aristotelian manner. So did the later Church conceive the life of man placed in the universal order. Past were the times from which Cimabue still rayed forth, when men's conception of a world beyond the Earth proceeded still from the old visionary life. Now came a purely human way of feeling; yet the desire was, once more, to lead this human feeling upward to a higher life — to connect it with a higher life, only now in a more systematic, more intellectual and abstract way.

And so, in place of the Earlier Art, creating as from a single centre of spiritual vision, there arose the new element of composition. See the three tiers, rising systematically into higher worlds from that which is experienced and felt below.

Observing this in the immediate followers of Giotto, you will already have a premonition, a feeling of what was destined to emerge in the later compositions. For who could fail to recognise that the same spirit which holds sway in the composition of this picture meets us again in a more highly evolved, more perfect form, in Raphael's Disputa.

Andrea da Firenza School of Giotto: See how the spiritual events and processes of earthly life are portrayed in the grouping of the human figures.

It is the same artistic conception which emerges in Raphael's great picture, generally known as the 'School of Athens. I beg you especially to observe the unique way in which the fundamental idea comes to expression here: Look at the expression of the faces.

See how the artist's work is placed at the service of this grand idea: The rule of the Church raying out over the Earth.

You may study every single countenance. Wonderfully it is expressed — raying outward from the centre — how each single human being partakes in the impulse that is thought to proceed from the Church through all the souls on Earth.

The physiognomies are such that we see clearly: The whole thing was done by an artist who was permeated by this idea, and was well able to bring to expression in the countenance of men what the Church Militant would, indeed, bring into them. We see it raying forth from every single face. I beg you to observe this carefully, for in the later pictures which we shall see afterwards it does not come to expression with anything like the same power.

Though the fundamental idea of the composition — expressed so beautifully here, both in the grouping of the figures and in the harmony between the grouping and the expressions of the faces — though the fundamental impulse was retained by later artists, nevertheless, as you will presently see for yourselves, it was an altogether different element that arose in their work.

Look at the dogs down here: Angelico represents these Domini Canes in many of his pictures. Here we come a stage further in artistic evolution. The following developments may be said to have proceeded from the stream and impulse of which Giotto was the great initiator.

But from this source a two-fold stream proceeded. In the one, we see the realistic impulse emancipating itself more and more from the Spiritual.

In Giotto and in the last two pictures the Spiritual still enters in, everywhere; for, after all, this impulse proceeding from the Church Militant throughout the World is conceived as a spiritual thing. Every single figure in the composition is such that we might say: Francis himself lived after all in a spiritual world albeit lovingly, realistically inclined through his soul to the earthly world around himGiotto and his pupils, with 'however loving realism they grasped the things of this world, still lived within the Spiritual and could unite it with their conception of the single individual on Earth.

Cimabue, Santa Trinita Madonna

But now, as we come on into the 14th and 15th century, we see the longing, faithfully to portray the individual and Natural, emancipating itself more and more. There is no longer that strong impulse to see the vision as a whole and thence derive the single figures, which impulse was there in all the former pictures, even where Giotto and his pupils went to the Biblical story for their subjects.

Now we see the single figures more and more emancipated from the all-pervading impulse which, until then, had been poured out like a magic broach ever the picture as a whole. More and more we see the human figures standing out as single characters, even where they are united in the compositions as a whole. Look, for example, at the magnificent building here. Observe how the artist is at pains, not so much to subordinate his figures to one root-idea, as to represent in every single one a human individual, a single character.

More and more we see the single human characters simply placed side by side. Though undoubtedly there is a greatness in the composition, still we see the single individuals emancipated naturalistically from the idea that pervades the picture as a whole.

Even in this Biblical picture you can see how the expressions of the several figures are emancipated from the conception as a whole. Far more than heretofore, the artist's effort is to portray even the Christ in such a way that an individual human quality comes to expression in Him.

Likewise the other figures. In this picture you can already lose the feeling of one idea pervading the whole. See, on the other hand, the wonderful expressions of the faces in Filippino Lippi's work, both in the central figure of the visionary and in the lesser figures. In every case the Human is brought out. Thus we see the one stream, proceeding from the source to which I just referred, working its way into an ever stronger realism, till it attains the wondrous inner perfection which you have before you in this figure of St.

Bernard as he receives his vision. Here you see a wonderful progression in human feeling. Looking at this work of Masaccio's, you can take a keen interest in every single figure, in every single head of these disciples grouped around the Christ. Look, too, how the Christ Himself is individualised.

Florence in the Late Gothic period, an introduction

Think of the tremendous progress in characterisation, from the pictures which we saw before, to this one. Observe the transition in feeling. Heretofore it was absorbed in the Christian cosmic conception. Now it has passed over to the renewed conception of the Roman power.

Feel in this composition, in the expressions of the several figures, how the Roman concept of power is expressed.

cimabue and giotto relationship help

A little while ago we say the Rule of the Church Militant pouring out as a spiritual force over the whole. Here, for the most part, are highly individualised figures — men who desire power and who join together for the sake of power, while in the former case it was a spiritual light which shone through all their faces. In the earlier pictures, each was to be understood out of the whole, while here we can but grasp the whole as a summation of the individuals, each of whom is, in a sense, a power in himself.

With all the greatness of the composition — the figures grouped around the mighty one, the Christ, mighty through His pure spiritual Being, — still you can read in the expressions of these men: All this is expressed in the figures of these men.

So you see how the human and realistic element becomes more and more emancipated, while the artist's power to portray the individual increases. The sacred legends, for example, are no longer represented for their own sake. True, they live on, but the artists use them as a mere foundation. They take their start from the familiar story, using it as an occasion to represent the human being. Expulsion of Adam and Eve from Paradise. See how the artist's attention is directed not to the Biblical story in itself but to the question: How will human beings look when they have been through the experience of Adam and Eve?

We must admit that for his time the artist's answer is magnificent. Portrait, Framseslo Sassetti and Son. I need scarce make a comment. With Ghirlandajo we come to a time when the faculty to portray man as man — to represent what is purely human in his life — has reached a high level of perfection. Henceforth the Last Supper is no longer merely represented as in the picture that we saw just now so that the vision of those that behold it may be kindled to an experience of the sacred action.

No; the story of the Last Supper is now taken as an opportunity to represent the human beings.

cimabue and giotto relationship help

Though it is not yet so much so as in some later pictures, nevertheless, we can already study here the physiognomies of the disciples one by one, observing how their human characters are working under the impression that has been kindled in their souls.

Such pictures bring home to us the immense change in the whole artistic conception. The Sermon of Anti-Christ. The same comments would apply to this picture. So, too, with the problem of the Madonna: The sacred legend lives on; and, being familiar to all, is made use of to solve problems of artistic realism and to bring out the individual and human. In these artists, as the last pictures will illustrate, the Human impulse has already grown so strong that they no longer feel the same necessity to choose their subjects from the sacred legend.

You can scarcely imagine the entry into Giotto's pictures of any other than a Christian subject. But when the Christian legend came to be no more than the occasion for the artists to portray the human being, they were presently able to emancipate the human subject from the Christian Legend.

So we see them going forward to the art of the Renaissance, growing more and more independent of Christian tradition. Descent from the Cross. Having shown a number of pictures representing the realistic stream, if so we may call it — the seizing of the Human on the Earth, liberated from the Supersensible — we now come to the second stream above-mentioned, of which Fra Angelico is one of the greatest representatives.

It is, if I may so describe it, a more inward stream,a stream more of the soul. The artistic evolution which we followed hitherto was taken hold of more by the Spirit. In Fra Angelico we see the Heart, the soul itself, seeking to penetrate into the human being. It is interesting to see once more, in the wonderfully tender pictures of this artist, the attempt to grasp the individual and human, yet from an altogether different aspect, more out of the soul.

Indeed, this lies inherent in the peculiar colourings of Fra Angelico, which, unhappily, we cannot reproduce. Here everything is felt more out of the soul, whereas the emancipation of the Human which appeared in the other realistic stream, came forth more out of the human Spirit striving to imitate the forms of Nature.

It is by the path of the soul, as it were, that the soul-content of Christianity pours in through Fra Angelico. Hence the phenomenon of Fra Angelico is so intensely interesting.

Formerly, as we have seen, a supersensible and spiritual content poured through the evolution of Christianity, and took hold also of the world of Art.

Then the attention of man was turned to the world of Nature — Nature experienced by the soul of man. We have seen how the same impulses, living as a simple religious enthusiasm in St.

Francis of Assisi, found artistic expression in Giotto. Henceforth, man's vision was impelled more and more to an outward naturalism. But in face of all this realism, his inner life seeks refuge, as it were, in the soul's domain, tending, again, rather to melt away the sharper lines of individuality, but striving all the more intensely to express itself, as a life of soul, in outer form. For the soul's life holds sway, pervading all the details in the work of Fra Angelico.

It is as though the soul of Christianity took flight into these tender pictures, so widely spread abroad, though the most beautiful are undoubtedly in the Dominican Monastery at Florence. Thus while the Spirit that had once held sway in vision of the Supersensible was now expended on the vision of the Natural, the soul took refuge in this stream of Art, which strove not so much to seize the physiognomy — the Spirit that is stamped on the expressions of the human countenance and of the things of Nature — but rather to convey the life of soul, pouring outward as a living influence through all expression.

You will remember the picture of the Last Supper which we showed just now. There, everything depended on an answer to the question: How does Nature reveal the Spirit? How does Nature impress on the external features of men the signature of their experience in this event? Here, on the other hand, you see how all the characters are concentrated on a single feeling, and yet this single quality of soul finds living expression in them all.

Here is essentially a life of soul, expressed through the soul; while in the former picture it was a life of the Spirit, finding a naturalistic expression. Down to the very drawing of the lines you can see this difference. Look at the wonderful and tender flow of line. Compare it with what you will remember of the former picture of the Last Supper. Coronation of the Virgin Mary. See what a quality of soul is poured like a magic breath over this picture.

It is interesting how in Botticelli the same artistic impulse, which we found in Fra Angelico, is transferred — if I may put it so — to altogether different motives. Botticelli, in a certain respect, is most decidedly a painter of the life of soul. Yet he again emancipates, within the life of soul, the Human from the general Religious feeling which pervades the work of Fra Angelico.

He emancipates the human working once more towards a certain naturalism in the expressions of the soul. Compare this portrait with the head we saw before, by Ghirlandajo. In that case something essentially spiritual found naturalistic expression, while here we see an abundant life and content of the soul even in the drawing of the lines. Adoration of the Magi. Coronation of the Virgin. Florence Following on Fra Angelico, we have shown a series of Botticelli's so as to gain an impression of the progress in the painting of the soul's life, in contrast to the Spirit which we found in Masaccio and Ghirlandajo.

These, then, were the two directions that grew directly out of the impulses proceeding from Giotto — impulses handed down through Giotto, and through Donatello in another sphere, down to these painters. In the further course of evolution on these lines, we now come to the great Renaissance painters, of whom I still wish to show you a few pictures in this lecture.

When we have a picture like this of Botticelli's before us, we realise the extraordinary intensity of progress from the 14th to the 15th and on into the 16th century — from the portrayal of the purely Human, In such artists as Ghirlandajo we see the Spiritual, absorbed into the sphere of Nature, brought to a high level of expression. Here in this other stream we see a rich life of soul, come to expression, even in the draughtmanship.

In course of time men had attained the knowledge of the human form, with all its powers of expression. It was as though, from the starting-point of Heaven, Earth had been conquered by mankind. That deepening of life which had come about through Christianity passed more and more into the background, and it was as though the object now were to understand man as such in a far deeper way. The heavenly domain became a path of progress, towards the more perfect expression of the inner being of man as it stamps itself upon his outer features, and upon all that comes forth outwardly in the relationships of men to one another, in their life together.

It is the conquest of the realm of Man, by the most varied paths, which comes before us here so wonderfully. And now we see the union of all these impulses in the great artists, Leonardo, Michelangelo and Raphael. Let us observe a few of Leonardo's pictures. We shall find in him a synthesis of the varied strivings which came be ore us in the other pictures. For in a high degree, the Leonardo da Vinci, there is a working-together of the Spiritual with the life of the soul — in his drawing, in his composition and in his power of expression.

To begin with I have selected some sketches and drawings by Leonardo, from which you may see how he endeavoured to study man in a fully realistic way. Giotto di Bondone Italian, about — O empty glorying in human power! Cimabue is considered the master artist who trained Giotto in the art of painting. Take a look below at a famous comparison between the two artists and keep the images in mind as we hear from others who have written about Giotto.

Cimabue Italian, about — Galleria degli Uffizi, Florence inv. Madonna and Child detailunknown artist, Byzantine, about Tempera and gold leaf on woven fabric over wood. National Gallery of Art, Washington, D.

The Crucifixion detailsabout —20, Giotto di Bondone. Bertola Any discussion about Italian Renaissance art, especially Florentine, must include a nod to Giorgio Vasari, whose Lives of the Most Excellent Italian Painters, Sculptors, and Architects and has long informed our understanding of art made in the period from Giotto to the midth century.

Here are his words in praise of Giotto: Infor example, the Galleria degli Uffizi in Florence presented the exhibition Mostra Giottesca, which placed works by Giotto in the context of painting, sculpture, drawings, liturgical objects, and illuminated manuscripts from the late 13th century to the midth.

cimabue and giotto relationship help