Giotto

The most famous works of Giotto are murals in the Arena in the Padua. named so because in its place was once the circus arena. The chapel was built in

As in many other multi-figure scenes of the fresco cycle from the Capilla del Arena, the action is taken outside the temple interior to the square in front of the

Under the main frescoes of the Capilla del Arena in Padua, Giotto placed a series of images embodying human vices and virtues. On the south wall of the chapel, he

The image of the betrayal scene is placed on the left side of the triumphal arch in the Chapel del Arena. In the interpretation of this evangelical event, Giotto does

Among the works attributed to Giotto, there are three large crucifixes. It is carved in the form of a cross wooden panels with the image of a crucified Christ. One

This is one of the most famous “choral” scenes in the murals of the Capella del Arena. It shows more than two dozen characters. But in the image of Giotto,

Giotto is poorly represented in museums around the world. Only “Madonna of Onisanti” is exhibited in the Uffizi Gallery in Florence. Several other museums have panels that are attributed to

This masterpiece of Giotto is the pearl of the Capilla del Arena. The center of the composition are two close faces: the dead Christ and His Mother. It is here

The Gospel of John tells how, during the marriage feast in Cana, Christ turned water into wine. Fresco Giotto is a fairly developed version of the iconography of this story.

Like all the works in the Chapel del Arena, this fresco was made by Giotto in the technique of “bouillon fresco”, which involves painting on wet plaster. When drying, the

Shortly after returning from Naples, Giotto was appointed chief architect of Florence. The document, dated 1334, states that for this post “in the whole world it is impossible to find

In the eastern wall of the chapel there is an arched hole leading to the altar, the walls of which are also painted, but Giotto has nothing to do with

The name of Giotto is associated with the beginning of a new stage in the development of Italian art, marked by a break with the medieval tradition of Italo-Byzantine art.

In addition to the series of frescoes in the Arena Dome, the only surviving frescoes that are confidently attributed to Giotto, are considered works that adorn the Bardi and Peruzzi

The frescoes decorating the church of San Francesco in Assisi are another acute problem of “jottology”. The construction of this church began in 1228, immediately after the canonization of St.