Giotto’s O
by Serena Romano, translated by Sarah Merkel
The subject of this book is the artistic revolution that took place around the year 1300. Young Giotto is the protagonist of this revolution, whose trajectory of development can be traced across the most vibrant and fashionable centres of culture of the time, at the court of the Pope, in the city of Florence, in the rich and cultivated north-eastern Italy, between the court of the Malatesta in Rimini and the Veneto region with its power-house and financial heart in Padua. Above all, the book is about two huge projects that marked the first part of Giottos life: the Basilica of Assisi and, in Padua, the Scrovegni Chapel and the Basilica of Saint Anthony. Within his work and in his workshops places and people of Italy at the turn of the century come to life. Relying on stylistic and technical analysis, on a careful reading of iconographical programmes, studying working methods and culling information from artistic works themselves and historical documents, one may gain insights into how Giotto, like no one else, was able to become a catalyst of a new contact with the world, a modern ability to narrate with images and a newly rediscovered love of nature.
The subject of this book is the artistic revolution that took place around the year 1300. Young Giotto is the protagonist of this revolution, whose trajectory of development can be traced across the most vibrant and fashionable centres of culture of the time, at the court of the Pope, in the city of Florence, in the rich and cultivated north-eastern Italy, between the court of the Malatesta in Rimini and the Veneto region with its power-house and financial heart in Padua. Above all, the book is about two huge projects that marked the first part of Giottos life: the Basilica of Assisi and, in Padua, the Scrovegni Chapel and the Basilica of Saint Anthony. Within his work and in his workshops places and people of Italy at the turn of the century come to life. Relying on stylistic and technical analysis, on a careful reading of iconographical programmes, studying working methods and culling information from artistic works themselves and historical documents, one may gain insights into how Giotto, like no one else, was able to become a catalyst of a new contact with the world, a modern ability to narrate with images and a newly rediscovered love of nature.
- By (author) Serena Romano
Other Titles in this Series
The Cardinal and his Painters
Giacomo Stefaneschi, Giotto and Simone Martini between Rome and Avignon
Lordships of Southern Italy
Rural Societies, Aristocratic Powers and Monarchy in the 12th and 13th Centuries
Volume 5
Similar Books
«Solazoxa festa, stradolze e stracomplia»
Festschrift für Raymund Wilhelm zum 65. Geburtstag mit Beiträgen zu Diskurstraditionen und mittelalterlicher Philologie
Volume 249
A Collaborative Tapestry in Honour of Shirley Ann Brown / Une fresque brodée en l’honneur de Shirley Ann Brown
The Bayeux Tapestry Seen by her Colleagues and Friends / La Tapisserie de Bayeux vue par ses collègues et amis
Balthasar Caymox of Nuremberg
Early Modern German Print Publishers: Popular Prints of the Seventeenth Century
Behind the Scenes of Medieval Roofs
An Overview of the Roofing Systems of Italian Churches
Volume 90
Beyond Sovereign Courts
Agents and Practices in Early Modern Spanish and Habsburg Diplomacy
Volume 3
Cahiers de recherches médiévales et humanistes – Journal of Medieval and Humanistic Studies
Volume 51
Circulation, Use, Impact
The Consumption of Architectural Books in the Early Modern Eastern Adriatic
Volume 1
Councils, Conflicts, Correspondence
Urban Diplomacy in Reval (Tallinn) and Lübeck (c. 1470–1570)
Volume 67
ENTANGLED AFRICA
Intra-African Relations Between Rain Forest and Mediterranean from Around 4,000 BCE to 1,500 CE
Gold, Silver and Glass: Power Networks, Cultural Identities, Technology Transfers and Agency across the Old World (7th Century BC – 1st Century AD)
Proceedings of a Conference Held at the British Museum, 16–18 June 2023
