Giotto di Bondone, a renowned artist of the 13th century. Late Gothic movement.

1.  SUBJECT: ART APPRECIATION
 SUBMITTED BY: ARCHY BHATT
 EN NO: 139820362501
 DIP ARCH 3 SEM 5
 ITM SAAD VADODARA

2. •1267 C.
•FLORENCE, ITALY
•MOVEMENT: LATE GOTHIC-PROTO
RENAISSANCE
GIOTTO DI BONDONE

3. GIOTTO
 Giotto was an Italian painter from
Florence.
 He was considered one of the great artists
who contributed to the Renaissance.
 He was known for his Fresco paintings
and his work was displayed in Chapels.
 His famous work includes the fresco
paintings in Arena Chapel.
 He was known to be a master in drawing
realistic and natural figures. He would
show the things and bodies as they are in
real life.
 He was known to be influenced more by
deep observation and to replicate reality in
his paintings.
 Giotto broke the Byzantine style of art
where in the paintings were more flatter
and 2d and gave life to them. There was
accuracy in his drawings.

4. Giotto’s Style of Painting
 It was, finally, extremely important to di Bondone to
adequately convey mood, tone and emotion in his
frescoes. While in traditional religious paintings, emotions
like joy, sorrow and anger were subdued at best, di
Bondone maximized use of facial expressions, gestures
and postures to communicate what the subjects were
feeling.
 He also regularly used color to express emotion: reddened
cheeks, dark skies, and brown foliage, for example. Di
Bondone believed that life should be painted as it is, not in
the highly stylized and unrealistic Byzantine method.
 Illumination and shading are two of the most useful tools in
di Bondone's toolbox. He also relied heavily on lighting and
shade to draw attention to the main idea of the fresco, to
give his human subjects more weight and shape, and to
give the scene a more realistic feeling.

5. Scrovegni (Arena) Chapel Frescoes
(c.1303-10)
Joachim Among the Shepherds
Birth of MaryBirth of Jesus Last Judgment

6. Scrovegni (Arena) Chapel Frescoes
(c.1303-10)
 Decoration of the Scrovegni Chapel was
commissioned at the beginning of the fourteenth
century by a wealthy Italian banker called Enrico
Scrovegni. It was a family chapel, built, some
believe, a restitution for Scrovegni's involvement
in less-than-reputable dealings.
 As a whole, the Scrovegni Chapel is a model of
artistic fluidity and visual storytelling genius. Di
Bondone makes careful use of composition
throughout the chapel to draw viewers' attention
to desired points of focus, arranging his subjects
in a way that ensures maximum emotional
engagement.
 Giotto's use of horizon lines, geographic forms
and architecture within the scenes seem to have
all been meticulously manipulated to point
viewers in the desired direction.
The Kiss of Judas
Slaughter of the Innocents

7. THE CRUCIFIXION  Style: Proto Renaissance
 Genre: religious painting
 Technique: tempera
The images depicted in this painting
are so solidly three dimensional
that it seems as if you could reach
out and touch them; the tears on
the faces of the grieving women
look as if they will fall onto the
viewer. In this painting, Giotto
beautifully illustrates his ability to
combine aspects of traditional
iconography with the flawless
realism for which he was so
famous. Giotto shows off his talent
by draping the clothing lightly over
the crucified Jesus, whose
loincloth lightly sits upon his body,
and drapes down across his legs
as his body sinks down on the

8. THE LAMENTATION
 Style: Proto Renaissance
 Series: Scenes from the Life of
Christ
 Genre: religious painting
 Technique: fresco
This fresco beautifully exemplifies
Giotto’s break with Byzantine
techniques. He creates a
highly emotional story with the
combination of elements of
traditional Byzantine paintings,
such as the dimensional layout
and iconography, with his
stylized faces showing an
emotional response to the
death of Christ. The result pulls
the viewer into the scene by
inviting them to witness the
pain and anguish of the
Lamentation. This realistic
depiction of emotion on human