Giotto the painter. : survival : works and practices up to Michelangelo / / Volume 3 : / Michael Viktor Schwarz.

• Superior document: Giotto the Painter
• VerfasserIn: Schwarz, Michael Viktor,
• Place / Publishing House: Germany : : Böhlau Verlag,, [2023]; ©2023
• Year of Publication: 2023
• Edition: 1st ed.
• Language: English
• Series: Giotto the Painter
• Physical Description: 1 online resource (433 pages)
• Notes: Includes index.

Giotto is considered by many to be the founder of modern painting. This thesis is discussed and modified in the present volume on an empirical basis. What emerges is that Giotto's impact cannot be reduced simply to the introduction of the study of nature. Rather, his art was involved in the development of pictorial idioms that were attuned to the skills and interests of their audiences. The new approaches in his painting contributed in particular to the possibility of examining and communicating psychological, narrative and allegorical content of great complexity outside the media of language and text, which not only changed the face of European art but certainly contributed to the intellectual opening of Western societies.

Table of Contents

Intro -- Title Page -- Copyright -- Table of Contents -- Introduction -- Giotto, Dante, and the Consequences -- Giotto's alleged portrait of Dante -- Recognising Dante -- Giotto in the Divina Commedia -- Giotto as Dante's Friend and Pupil -- Afterlife as a Painter-Poet -- Vasari's Giotto and His Survival -- The Pioneer -- Vasari's Giotto in Burckhardt's Renaissance -- 19th and 20th Centuries Alternatives -- Three Artefacts: Thode, Carrà, Previtali -- Stefano: the Invention of the Grand Allegory -- Assisi: Cominciata una gloria -- Sources: Visual and Franciscan Matter -- Sources: Francesco da Barberino -- Strategy and Audience -- Stefano's Contribution -- Hector's final hours painted with Giotto's colours -- Visibile parlare - visualised -- Flashback: Giotto narrates -- A Dark Drollery -- Roman de Troie (Austrian National Library Cod. 2571) -- Gerarducius -- Hector's Final Hours -- Plot and Image in the Vienna Codex -- Opera ludica -- Between Giotto and van Eyck: The Portrait of Rudolf the Founder -- Confusion -- The view backwards -- The View Ahead -- Eyeballing? -- Rilievo / Erumpere -- Index and Realism -- Altichiero's Individuals: Narration through Characters -- The Painter(s) -- Who is who? -- Eye magnets in Padua and Florence -- Giotto's Fideles defuncti -- Portrait and Narration -- Configuration and Perspective, Gaze and Picture -- The Fathers of Perspective -- What is a Picture? -- Brunelleschi's Panels -- Giotto's Legacy: Field of Vision and Picture Field -- Giotto's Legacy: Technique -- Alberti: Peep Boxes and Theory -- Painted Gazes and the Perspective -- The Image as Gaze, the Gaze as Image -- Action Into Space, Space Into Action -- Narrated Space and Perspective Space -- Thebais (Chester Beatty Library Ms. 76) -- Picture I: Orthogonal Action -- Picture II: The Doubled Hero -- Action, Space, Simultaneity (Picture IV, VII, and VIII).

Altichiero -- Orthogonal Action in Italy and the North -- Beyond the Giotto Tradition -- Giotto Beyond the Alps -- Giotteschi on the road -- Navicella Copies -- Soutillissime maistre de paintures et d'autres merveilles -- The Zürich-Berlin Diptych and its Context -- Doll's Houses -- Jean Pucelles Pictorial Spaces and the Consequences -- From Avignon to Prague -- "Musterbuch-Giottesken" -- The Peruzzi Chapel and the Renaissance -- Masaccio: Overcoming the Giotteschi with Giotto -- Giotto Syntheses -- Pathos of Bodies and Affects -- Et ascendit super cherubim et volavit: Michelangelo's Creator -- Conclusion: Opulence, Order, Optics, Empathy -- Epilogue -- Photographic Credits -- Literature and Printed Sources (Vol. 1-3, Selection) -- Index (vol. 1-3).