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Dante, Petrarch, and Boccaccio are the literary figures we associate with the transitional era between the Middle Ages and the Renaissance in Italy. In art history, this time of artistic fertility is represented above all by the name Giotto, the great Florentine artist around whose work revolved the innovations in the visual arts in Italy, during the trecento, which shaped the course of Western art for centuries to follow. Italian cities flourished especially in the early decades of the century, as ambitious architectural projects were undertaken that demanded equally challenging decorative programs. Communal palaces and princely residences, new cathedrals and the spacious churches of the mendicant orders, all provided new tasks for painting, and especially for mural painting.
Italian Frescoes: The Age of Giotto, 1280-1400 illustrates in detail the inspired responses to this challenge by Giotto, his contemporaries, and his successors. They undertook a continuous artistic exploration of new ground - in terms of figurative and narrative style as well as in the shaping of pictorial space and use of color. After an introductory overview, the volume begins with an in-depth presentation of the frescoes at San Francesco in Assisi, which became, in the decades around 1300, the great school of Italian painting, where Giotto, Pietro Lorenzetti, and Simone Martini, among others, created a new kind of painted mural and a new style of pictorial narrative. Expansive treatment is given as well to Giotto's masterful Arena Chapel in Padua, a touchstone of European art for writers and artists from Dante to Marcel Proust and from Ghiberti to Henri Matisse. Among the many other highlights of the volume are the chapels painted by Giotto, Taddeo Gaddi, Maso di Banco, Giovanni da Milano, and Agnolo Gaddi in the church of Santa Croce, Florence; Ambrogio Lorenzetti's monumental allegories of good and bad government in the Palazzo Pubblico, Siena; Buffalmacco's Triumph of Death and Last Judgment in Pisa's Camposanto; and, toward the end of the century, Altichiero's frescoes for the Saint George Chapel in Padua.
Italian Frescoes: The Age of Giotto, 1280-1400 illustrates in detail the inspired responses to this challenge by Giotto, his contemporaries, and his successors. They undertook a continuous artistic exploration of new ground - in terms of figurative and narrative style as well as in the shaping of pictorial space and use of color. After an introductory overview, the volume begins with an in-depth presentation of the frescoes at San Francesco in Assisi, which became, in the decades around 1300, the great school of Italian painting, where Giotto, Pietro Lorenzetti, and Simone Martini, among others, created a new kind of painted mural and a new style of pictorial narrative. Expansive treatment is given as well to Giotto's masterful Arena Chapel in Padua, a touchstone of European art for writers and artists from Dante to Marcel Proust and from Ghiberti to Henri Matisse. Among the many other highlights of the volume are the chapels painted by Giotto, Taddeo Gaddi, Maso di Banco, Giovanni da Milano, and Agnolo Gaddi in the church of Santa Croce, Florence; Ambrogio Lorenzetti's monumental allegories of good and bad government in the Palazzo Pubblico, Siena; Buffalmacco's Triumph of Death and Last Judgment in Pisa's Camposanto; and, toward the end of the century, Altichiero's frescoes for the Saint George Chapel in Padua.
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Joachim Poeschke is a professor of art history and the Director of the Institute of Fine Art at the University of Munster.
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