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A number of 14th-century sources (Riccobaldo Ferrarese, Francesco da Barberino, 1312–1313) testify to Giotto's presence at the Arena Chapel's site. The fresco cycle can be dated with a good approximation to a series of documentary testimonies: the purchase of the land took place on 6 February 1300; the bishop of Padua, Ottobono dei Razzi ...
Lamentation (The Mourning of Christ) is a fresco painted c.1305 by the Italian artist Giotto as part of his cycle of the Life of Christ on the interior walls of the Scrovegni Chapel in Padua, Italy. [1] The Scrovegni Chapel was built as a private chapel next to the Eremitani Monastery by the wealthy Scrovegni family and consecrated in 1305.
Giotto's Frescoes in Arena Chapel - It is clearly visible particularly in the Lamentation panel. The sky is broken up into several pieces and there are faint lines of demarcation visible around several of the figures. Note the lines in the sky and also the different shades of blue.
Giotto did away with many aspects of Byzantine art that would flatten the painting. Within Cimabue's Santa Trinita Maestà , there is the use of gold tracing to delineate the folds of the fabric. In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.
The lamentation of Christ fresco is described as being a fusion of life and death in a single image as Mary movingly mourns Jesus, cradling him between her legs. Graham-Dixon reminds that these frescoes from the 1160s precede Giotto's similar emotional frescoes from the Arena Chapel in Padua, circa 1305.
"The Life of Christ: The Story of Christ: The noblest paintings of the Saviour's life were done by Giotto for a chapel in Italy." Life Magazine, Time, Inc. 27 December 1948. 25: 26. p. 32–57. ISSN 0024-3019. MacDonald, Margaret F. (2001). Palaces in the Night: Whistler in Venice. University of California Press. ISBN 0-520-23049-3.
Enrico Scrovegni was a Paduan money-lender who lived around the time of Giotto and Dante. He was the son of Reginaldo degli Scrovegni and Capellina Malacapelli, and was married twice, first to a member of the Carrara family, then to Jacopina (Giacomina) d'Este, daughter of Francesco d'Este, Marquis of Ferrara.
These scenes are among the first known works depicting the early life of the Virgin, and, like Giotto's fresco of this subject in the Arena Chapel in Padua (completed 1305), became a valuable model for iconography. [9] Due to records, it is known both Pietro and Ambrogio signed and dated the works on the façade of Santa Maria della Scala in 1335.