Giotto and the Renaissance

         The painting style of the Renaissance differed drastically from Byzantine art of the Roman Empire.  Focus shifted from the purely ethereal to the human (though subjects remained mainly religious); and painters desired to create a sense of depth and life to their figures.  

       

       The forerunner of this new style, Giotto di Bondone (1266-1337), became widely known for his realism, which he achieved through multiple techniques.  One of these was to create the illusion of mass in his figures through the folded drapery of their clothes.  He also often worked with a specific light source, giving his figures a realistic setting that at the same time added to the illusion of depth.  

Giotto's Madonna Enthroned with
Angels and Saints, photo courtesy
of flckr creative commons

      

        Giotto’s panel Madonna and Child Enthroned with Angels and Saints is a perfect example of the stray from the Byzantine style.  As compared with Cimabue’s panel of the same subject, Giotto’s has a great amount of life to it.  Painted from 1306-1310, the tempera on wood panel stands at an alarming 128 x 80 inches.  In person, Giotto’s work with light, drapery, and architecture all work together to create depth and space.  Giotto also used perspective to create depth, seen in the throne (an architecturally painted masterpiece), as well as in the angels, who over lap one another as they recede into the background.  

      

          Giotto's style paved the way for a new era, focusing on the realism of humanity and emotion.  His attention to light, perspective, and depth does not seem new or extraordinary today, but in the 14th century it was an advanced technique, new to all.