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13 January, 2012
Giotto di Bondone
|A Boy Named Giotto|
(Paolo Guarnieri, Bimba Landmann (Illustrator), Jonathan Galassi (Translator)
A sparkling celebration of the pre-Renaissance master.
Centuries ago, a shepherd boy drew pictures of his sheep in the sand and on stones. Today, everyone knows him as Giotto, the pre-Renaissance master whose magnificent frescoes illuminate the Church of St. Francis in Assisi and the Scrovegni Chapel in Padua. In A Boy Named Giotto, Paolo Guarnieri tells a story of how young Giotto might have been apprenticed to the great master Cimabue and taught how to paint frescoes. In legendary fashion, Cimabue, as any other artist of the times might have done, realizes that the student has outdone the master and will subsequently find a permanent place of honor in the history of art. Bimba Landmann's stunning paintings, with highlights of glittering gilt, call to mind the work of Giotto but exude a style that is distinctly Landmann's own.
(Anne Mueller Von Der Haegen (Photographer)
Masters of Italian Art Series
|Giotto : The Scrovegni Chapel, Padua|
|Painting in the Age of Giotto : A Historical Reevaluation
(Andrew Ladis, Hayden B. J. Maginnis)
|The Arena Chapel and the Genius of Giotto: Padua|
(Andrew Ladis (Editor))
This four-volume set provides the most comprehensive collection of modern scholarly literature on the artist and his work. Assembling writings that are as disparate as they are sometimes hard to retrieve, it permits readers to consider the state of scholarship on a variety of specific problems surround Giotto's life and sheds light on larger historical issue concerning early Italian art and culture. In doing so, the series lays bare the methodological preoccupations of scholars since the nineteenth century. Above all, matters of connoisseurship and the larger question of the nature of the matter's art have governed the study of Giotto. Perhaps in part because of the intractability of the problems involved in arriving at an agreed-upon catalogue and chronology for Giotto, the Arena Chapel has served the chief means of demonstrating Giotto's pictorial subtlety, his dramatic range, and his intellectual depth. Curiously, the Arena Chapel came to be regarded as the cornerstone of Giotto's genius only in the nineteenth century. The notion of the essentially sculptural character of Giotto's art, pervasive in modern scholarship, is likewise recent, acquiring canonical status thanks to Bernard Berenson's celebration of "tactile values" in the Ognissanti Madonna.