Giotto di Bondone

B or n i n V es p i gna no d u ri n g 1 2 6 7
B or n i n V es p i gna no d u ri n g 1 2 6 7
D i ed i n F i re nz e o n 8 J anu ary 1 337

A rc h i t ec t

P ai nt er
F res c o es :
in Basilica San Francesco
at Assisi
and Scrovegni Chapel at Padua

Icon of Trecento
e
s
i
g
n
e
r
a
n
d
D
Friend of Dante
c ap o m as t ro of t h e
Pupil of Cimabue
c am p ani l e - b el l t ow e rof Duomo in Firenze

I nn ova to r

of Gothic

art

He leads toward
toward

R e n a is s a n c e

He obtained a realistic effect in his backgrounds by convergent

perspective (although not rigorous). A big step ahead from Byzantine art and golden flat background

T E C H N IQ U E S
F re scos :
a technique of mural painting executed upon freshlyfreshly-laid, or wet lime plaster.
plaster.
Water is used as the vehicle for the pigment to merge with the plaster, and with
the setting of the plaster, the painting becomes an integral part of the wall.

T em pe ra :
a permanent, fastfast-drying painting medium consisting of coloured pigment
mixed with a waterwater-soluble binder medium (usually egg yolk or Arabic
rubber)
rubber). It was used on wood panels but Giotto used it on walls too
too for
having more style and colour freedom.

Ochre, a natural pigment which comes in shades of

yellow, red, orange and brown, is the first pigment used
by humans

P ig m e n t s :
Dry coloring matter, usually an insoluble powder, to be
mixed with water,
water, oil, or another base to produce paint
and similar products.

Ultramarine is a deep blue color and a pigment which was

originally made by grinding lapis lazuli into a powder
Sources:
http://www.webexhibits.org/sciartperspective/perspective1.html
http://venetocultura.org/Giotto%20Cappella%20degli%20Scrovegni.php
http://timelessitaly.me/tag/giotto/
H.C.Gombrich The Story of Art Phaidon Press Limited 1995
Ochres and pigments from Roussillion Provence
Some personal photos