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Module 10: Discussion
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Module 10: Discussion
Famous for his work in both painting and architecture, Giotto Di Bondone is often
regarded as one of the first Renaissance artists (Chernick, 2023). His renowned artworks
across Florence, Italy, have earned him the reputation of being the painter who initiated the
Renaissance. Unlike other artists, he depicted a wide range of human emotions and traits in
his paintings, thus bringing up the naturalist in art and gracefulness (Chernick, 2023). He was
a link between the "Dark Ages" and the Renaissance because he brought these two significant
innovations to his works. The topics explored in Giotto's "Madonna Enthroned" and
Domenico di Bartolomeo Ubaldini's (Puligo) "Madonna and Child with St. John the Baptist
and an Angel" will be compared in this study. Despite being created during separate epochs,
both paintings deal with Christian folktales. Around 1310, the Giotto was constructed, and
between 1518 and 1520, the Puglio was executed. These two paintings have comparable
topics at the beginning and end of the Italian Renaissance; together, they provide a
remarkable illustration of the artistic advances of that period.
Since it first came out, "Madonna Enthroned" has gained much greater acclaim than
the other work discussed in this study. This is a straightforward image: The religious theme is
on the Madonna, surrounded by many saintly characters as she holds a newborn Christ figure
on her lap. Like "Madonna and Child with St. John the Baptist and Angel," the scene in
"Madonna and Child with St. John the Baptist and Angel" is broader and less concentrated on
the two main characters, but it still features other holy beings assembling to honor Christ.
With three prominent Christian characters plus an angel, "Madonna and Child with St. John
the Baptist and an Angel" is, in my view, a more intricate composition than the previous one.
An angel is present in the sacred scene of "Madonna and Child with St. John the Baptist and
an Angel," which also allows the other religious figure of St. John the Baptist to stand
alongside the holy mother and child. This means that, unlike in "Madonna Enthroned," the
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spectator is confronted with a literal narrative. There are religious elements in Puligo's
picture, especially in the composition's more extensive, more prominent parts.
The form and style of these two art pieces are manifestations of the Italian
Renaissance's advancements in the visual arts. While the Madonna and Child form the focal
point of both works, "Madonna Enthroned" features a crucial image that is best viewed from
a central position, and "Madonna and Child with St. John the Baptist and an Angel" occupies
most of the canvas, both of which reflect a Biblical theme. Unlike in Giotto's paintings, the
spectator in "Madonna and Child with St. John the Baptist and an Angel" does not feel
imposed on by the picture. Light and space also play an essential role in keeping Puligo's
work from coming off as "forced." For example, although the distance arrangement in
"Madonna Enthroned" draws the observer away from the picture, in "Madonna and Child
with St. John the Baptist and an Angel," the spectator is drawn into the scene. Color plays a
comparable function; however, Puligo's work expresses more by the intricate details it
contains, while Giotto's work is ocher and monochrome.
The exciting thing about the mood of these two paintings is that the figures around the
focal point of "Madonna and Child with St. John the Baptist and an Angel" are more
important than the color itself. Despite their centrality to the painting, "Madonna Enthroned"
gives the impression that the Madonna and Child are utterly immune to human interference.
Although it is far from "dark," the tone of this work fails to evoke any emotion. The holy
mother and infant are so revered that not even the angels flanking them dare approach them.
However, in "Madonna and Child with St. John the Baptist and an Angel," the characters
seem to know and love each other throughout the piece, which gives the impression of a more
humanized depiction of art.
The composition of Giotto's "Madonna Enthroned" is somber and respectful. The
saintliness and divinity of the center figures are emphasized by the respectful distance and
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distance with which the figures around the Madonna and Child are shown. The regal posture
of the Madonna and Child on their throne conveys their elevated position; they seem
imposing and unapproachable. The angels standing guard around them keep their distance,
adding to the air of wonder and respect. This artwork highlights the Madonna's position as
Queen of Heaven by following the conventional medieval depiction of her as a majestic and
ethereal figure.
To sum up, these two works provide a breathtaking glimpse into the impact of the
Italian Renaissance on art history. At the beginning of the Renaissance, when Giotto lived
and worked, people created art primarily to give themselves a sight of God. Biblical subjects
or depictions of the artist's affluent client comprised most of the period's artwork. The visual
form and style used by the two painters also distinguish the features of the two art pieces.
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Reference
Chernick, K. (2023, November 23). Who Was Giotto, and Why Was He So Important? ART
News. [Link]
1234686429/bardi-and-peruzzi-chapels-in-santa-croce-florence-c-
1317%e2%80%9228/.
