GIOTTO AND THE THREE HUNDRED The Age "and large et inept" mentioned by Vasari in his "Lives" is still the Italian Middle Ages, a period in which we find, however, the eminent figure of Giotto di Bondone , which he credited with having discovered, or rather raised, the old way of doing fine art. The exhibition hosted by the Complesso del Vittoriano in Rome, presents a survey on the "most sovereign master of painting" framing, with 150 works on show, the period between the end of the thirteenth century and the first half of the fourteenth century. is indicated as a contemporary of Giotto, among others-was-Dante Alighieri, the "poet" who shares with the artist the title of "first Italian", made at least evidenced by their constant trips that will take them to travel from north to south across the Italian peninsula, where the text of the Vasari gives precise route . The Giotto's revolution is to emerge with the complex iconography, spatial constructions set to scenic depending on the space of architecture, whose elements are designed and painstakingly reproduced in perspective (despite its in-science). The technology helps the show in the performance of its program: the Victorian wanted to propose a collection of works that "retrace the route in its entirety figurative giottesco" at a distance of more than seventy years after the last major exhibition on Giotto, held at the Galleria degli Uffizi in 1937. It's obvious the difficulty of articulating an exhibition has its completeness, for artists such as Giotto, who make their work more important, especially as frescoes, to remedy this gap, the body builder's use of the technology shows: and hall first floor, they set about ten screens showing the frescoes-evidently impossible to remove and transport-filling what vulnus than some of the work of Giotto. Unfortunately monitors are not interactive, as they are, I must say unnecessarily, those on the lower level having the Italian regions with descriptions of the works of Giotto, that the corridor, overcrowded because of expectation of visitors between a zoom and 'another, it penalizes the exposure.
In presenting below a short excerpt of some works in the exhibition, I want to point out that they were not chosen on the basis of quality closely related to works of art as an art historian might do, but rather, according to personal impressions evoked by these works. Immediately you feel a common feature: the figures are all framed. The boundaries of the frame and sized boards staggered the figures represented in them. The pasty blue sapphire fills its shades our eyes, no longer accustomed to a color so decides. In a small room on the first floor were placed beautiful medieval manuscripts, whose smooth, shiny surface (highlighted by fluorescent lighting, which obviously come from their creation logic) is soul of the folds of time, as tired of being close to each stumps to the other for the past centuries, expanding and separating, proud of his magnificent self. Among all, it hits the page of the Milanese illuminator Godfrey of Viterbo (Pantheon of the XIV century) in which he draws figures that invade free text space, elbowing the Latin letters black ross and . But it is the great room to gather the most beautiful works: Almost all the figures are three-quarters pose, the face turns in search of the representation of a three-dimensional space and, as determined by the directionality of the nose, which becomes the break the frontal. The front side of Giotto's long table representing the "Annunciation with Saints Reparata and John the Baptist, Mary Magdalene, Nicola" of 1310, strikes in a particular: Santa Reparata is dressed in a soft dress that falls conscious of the gravity force, as this color purple wonder, however, when, in his down to his feet, meets the flat surface of the ground, assuming that we are meeting folds reducing the distance between us and Santa.
The portrayal of figures floating in a beautiful background of sea bream, making a clear separation, as a sharp close proximity to such an extent that it is often a strong sense of modern decoupage ! Climbing Upstairs the fresco of the crucifix by Pietro (or Julian?) from Rimini in 1320-1330, bears the marks of his centuries, realizing, however, inadvertently, something that stimulates different thoughts. The figure of Christ, as we see it today, is to merge with the tempera-ocher gray plaster, from which, as color on color, only some details emerge, tying strettamemente represented subject and its support. The haze generated gray cloth of time, wrap the painting while still allowing the figurative sense of the object that covers it. Later on, always in a fresco, it's fun to see deconstructionist architecture (So \u200b\u200bto speak, of course) through a fragment dell'Orcagna (Andrea di Cione) taken from the Beggars (The Triumph of Death, 1350), which represents the collapse of a factory, a moment frozen by the dynamic brushstrokes of ' artist.
