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Joachim among the Shepherds
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Joachim_among_the_Shepherds
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua Sad and introverted, Joachim arrives among the shepherds. Using the contrast between the lively sheep, the dog that greets him, and the knowing glances of the shepherds, Giotto elucidates his state of mind in the voluminous, closed form of the saint. Artist: GIOTTO di Bondone Painting Title: No. 2 Scenes from the Life of Joachim: 2. Joachim among the Shepherds , 1301-1350 Painting Style: Italian , , religious
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Joachim's Sacrificial Offering
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Joachim's_Sacrificial_Offering
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua In the open countryside, Joachim has sunk to the ground and catches sight of an angel, who indicates to him that his sacrifice has been accepted. Colour is used to establish a connection between these two figures, illustrating the miraculous nature of events. As so often, Giotto also employs a figure here who comments on the action ?the praying shepherd. In his colorings, he is closer to the rocks and the animals. He too recognizes the hand of benediction in the sky. Artist: GIOTTO di Bondone Painting Title: No. 4 Scenes from the Life of Joachim: 4. Joachim's Sacrificial Offering , 1301-1350 Painting Style: Italian , , religious
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The Birth of the Virgin
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The_Birth_of_the_Virgin
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua The six scenes on the wall opposite to the scenes from the life of Joachim show the Birth of the Virgin, the Presentation of the Virgin in the Temple, and the four episodes pertaining to her marriage: the Rods brought to the Temple, the Prayer of the Suitors, the Marriage of the Virgin and the Wedding Procession. The birth of the Virgin takes place in the same house as the annunciation to Anne. In the small room, somewhat too narrow for the figures, Anne sits up in bed and is handed the baby in its swaddling clothes by a nursemaid. The child appears for a second time in the idyllic scene in front of the mothers bed. As in the Annunciation scene, Giotto also shows the view of the building from outside. He does not divide interior and exterior, but connects them using the two women. Artist: GIOTTO di Bondone Painting Title: No. 7 Scenes from the Life of the Virgin: 1. The Birth of the Virgin , 1301-1350 Painting Style: Italian , , religious
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. Wedding Procession
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._Wedding_Procession
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua Mary walks in front of her companions and is led to the house other parents, where she is received by musicians. This group alone lends a cheery air to the sombre procession. The bay window of the house, from which a palm leaf juts out as an allusion to the imminent birth of the Lord, appears again in the representation of the Annunciation. In this way Giotto incorporates the Bridal Procession of the Virgin into the sequence of the narrative. The fresco was damaged by the humidity. Artist: GIOTTO di Bondone Painting Title: No. 12 Scenes from the Life of the Virgin: 6. Wedding Procession , 1301-1350 Painting Style: Italian , , religious
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Presentation of Christ in the Temple
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Presentation_of_Christ_in_the_Temple
1310s Fresco North transept, Lower Church, San Francesco, Assisi Artist: GIOTTO di Bondone Painting Title: Presentation of Christ in the Temple , 1301-1350 Painting Style: Italian , , religious
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GIOTTO_di_Bondone
Italian Early Renaissance Painter, 1267-1337
Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.
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