ABC Gallery, Dali, Salvador, Salvador Dali, World's, Painters, Great Artist, Largest, Online, Fine, Velázquez, Art, Gallery, artchive, abc gallery, gallery abc, black goya painting, beautiful pictures, cezanne, caravaggio, Images, fine art tattoos, fine art tattoo, added, picaso,goya paintings, rose period, blue period, early works, daily, 畢加索 , piccasso, picaso, from, Picasso, to, Pissaro, and, Bernini, to, Bellini, Over, 14,000, images, of, oil, paintings, from, Abstract Expressionists African Art ALTDORFER American Art Ancient Art ARDON ARP Art Nouveau AVERY BACON BAILEY BALLA BALTHUS Baroque BASQUIAT Bauhaus BAUMEISTER BAZILLE BEARDSLEY BECKMANN BELLINI BELLOTTO BELLOWS BERNINI BEUYS BIERSTADT BINGHAM BLAKE BLUEMNER BOCCIONI BÖCKLIN BOHROD BONNARD BOSCH BOTERO BOTTICELLI BOUDIN BOUGUEREAU BRANCUSI BRAQUE BRONZINO BROWN BRUCE BRUEGEL BURCHFIELD BURNE-JONES CAILLEBOTTE CAMPIN CANALETTO CARAVAGGIO CARR CARRACCI CASSATT Cave Paintings CÉZANNE CHAGALL CHARDIN CHIHULY Chinese Art CHURCH CIMABUE CLEMENTE COLE CONSTABLE Contemporary COPLEY CORINTH CORNELL COROT CORREGGIO COURBET CRANACH CRIVELLI Cubism Dada DALÍ DAUBIGNY DAUMIER DAVID, G DAVID, J- L DE CHIRICO DE HOOCH DE KOONING DE LA TOUR DEGAS DELACROIX DELAUNAY DEMUTH DERAIN DIEBENKORN DONATELLO DONGEN DOVE DUBUFFET DUCHAMP DUFY DURAND DÜRER EAKINS Egyptian Art EL GRECO ERNST ESCHER Expressionism FISCHL FRA ANGELICO FRA CARNEVALE FRAGONARD FRANKENTHALER FREUD FRIEDRICH FUSELI Futurism GAINSBOROUGH GAUDI GAUGUIN GENTILESCHI GERICAULT GHIBERTI GHIRLANDAIO GIACOMETTI GIORGIONE GIOTTO GLACKENS GOES GOODMAN GOYA GRAY Greek Art GRIS Group of Seven GRÜNEWALD GUSTON HALS HARING HARNETT HARTLEY HASSAM HAUSMANN HEADE HENRI HEPWORTH HESSE HIROSHIGE HIRST HOCKNEY HODGKIN HOGARTH HOKUSAI HOLBEIN HOMER HOPPER Hudson River School HUNDERTWASSER HUNT IMMENDORFF Impressionism INGRES INNESS JOHNS JORDAENS KAHLO KANDINSKY KENSETT KIEFER KIENHOLZ KIRCHNER KITAJ KLEE KLIMT KLINE KOKOSCHKA LAWRENCE LE NAIN LEGER LEONARDO LEVINE LEYSTER LICHTENSTEIN LIOTARD LIPPI LISSITZKY LOTTO LÜPERTZ MACKE MAGRITTE MALEVICH MAN RAY MANET MANTEGNA MARC MARSH MARTINI MASACCIO MATISSE MEMLING MICHELANGELO MILLAIS MILLET MIRO MITCHELL MODIGLIANI MONDRIAN MONET MOORE MORAN MORANDI MOREAU MORISOT MUCHA MUNCH MURILLO MURRAY Neo-Classical NEEL NOLDE O'KEEFFE PARMIGIANINO PEARLSTEIN PETO Photographers PICASSO PIERO della FRANCESCA PIERO di COSIMO PIRANESI PISSARRO POLKE POLLOCK Pop Art PORTER POSADA Post-Impressionism POUSSIN Pre-Raphaelites PRENDERGAST PUVIS RAPHAEL RAUSCHENBERG REDON REMBRANDT REMINGTON Renaissance Art RENOIR RICHTER RIVERA ROCKWELL Rococo RODIN Roman Art Romanticism ROSSETTI ROTHKO ROUAULT H. ROUSSEAU T. ROUSSEAU ROUSSEL RUBENS RUISDAEL RYDER SARGENT SCHIELE SCHWITTERS Sculptors SEURAT SHEELER SIGNAC SIGNORELLI SISLEY SLOAN SOHLBERG SOROLLA Spanish Art SPILLIAERT DE STAEL Surrealism SWEERTS Symbolism TAMAYO TANNER TANSEY THIEBAUD TIEPOLO TINTORETTO TISSOT TITIAN TOULOUSE-LAUTREC TREVIÑO TURNER TWOMBLY UCCELLO VAN DYCK VAN EYCK VAN GOGH VELÁZQUEZ VERMEER VERONESE WARHOL WATTEAU WEST WEYDEN WHISTLER Women Artists WYETH ZURBARAN Velazquez

GIOTTO

Giotto
(c. 1267-1337)

"The first of the great personalities in Florentine painting was Giotto. Although he affords no exception to the rule that the great Florentines exploited all the arts in the endeavor to express themselves, he, Giotto, renowned as an architect and sculptor, reputed as wit and versifier, differed from most of his Tuscan successors in having a peculiar aptitude for the essential in painting as an art .

"Well, it was of the power to stimulate the tactile consciousness of the essential, as I have ventured to call it, in the art of painting that Giotto was supreme master. This is his everlasting claim to greatness, and it is this which will make him a source of highest aesthetic delight for a period at least as long as decipherable traces of his handiwork remain on mouldering panel or crumbling wall. For great though he was as a poet, enthralling as a story teller, splendid and majestic as a composer, he was in these qualities superior in degree only, to many of the masters who painted in various parts of Europe during the thousand years that intervened between the decline of antique, and the birth, in his own person, of modem painting. But none of these masters had the power to stimulate the tactile imagination, and, consequently, they never painted a figure which has artistic existence. Their works have value, if at all, as highly elaborate, very intelligible symbols, capable, indeed, of communicating something, but losing all higher value the moment the message is delivered.

"Giotto's paintings, on the contrary, have not only as much power of appealing to the tactile imagination as is possessed by the objects represented human figures in particular but actually more; with the necessary result that to his contemporaries they conveyed a keener sense of reality, of life likeness than the objects themselves! We whose current knowledge of anatomy is greater, who expect more articulation and suppleness in the human figure, who, in short, see much less naively now than Giotto's contemporaries, no longer find his paintings more than life like; but we still feel them to be intensely real in the sense that they powerfully appeal to our tactile imagination, thereby compelling us, as do all things that stimulate our sense of touch while they present themselves to our eyes, to take their existence for granted. And it is only when we can take for granted the existence of the object painted that it can begin to give us pleasure that is genuinely artistic, as separated from the interest we feel in symbols...

"Let us now turn back to Giotto and see in what way he fulfils the first condition of painting as an art, which condition, as we agreed, is somehow to stimulate our tactile imagination. We shall understand this without difficult) if we cover with the same glance two pictures of, nearly the same subject that hang side by side in the Uffizi at Florence, one by 'Cimabue', and the other by Giotto. The difference is striking, but it does not consist so much in a difference of pattern and types, as of realization. In the 'Cimabue' we patiently decipher the lines and colours, and we conclude at last that they were intended to represent a woman seated, men and angels standing by or kneeling. To recognize these representations we have had to make many times the effort that the actual objects would have required, and in consequence our feeling of capacity has not only not been confirmed, but actually put in question. With what sense of relief, of rapidly rising vitality, we turn to the Giotto 1 Our eyes scarcely have had time to light on it before we realize it completely the throne occupying a real space, the Virgin satisfactorily seated upon it, the angels grouped in rows about it. Our tactile imagination is put to play immediately. Our palms and fingers accompany our eyes much more quickly than in presence of real objects, the sensations varying constantly with the various projections represented, as of face, torso, knees; confirming in every way our feeling of capacity for coping with things~ for life, in short. I care little that the picture endowed with the gift of evoking such feelings has faults, that the types represented do not correspond to my ideal of beauty, that the figures are too massive, and almost unarticulated; I forgive them all, because I have much better to do than to dwell upon faults.

"But how does Giotto accomplish this miracle? With the simplest means, with almost rudimentary light and shade, and functional line, he contrives to render, out of all the possible outlines, out of all the possible variations of light and shade that a given figure may have, only those that we must isolate for special attention when we are actually realizing it. This determines his types, his schemes of colour, even his compositions. He aims at types which both in face and figure are simple, large boned, and massive types, that is to say, which in actual life would furnish the most powerful stimulus to the tactile imagination. Obliged to get the utmost out of his rudimentary light and shade, he makes his scheme of colour of the lightest that his contrasts may be of the strongest. In his compositions he aims at clear ness of grouping, so that each important figure may have its desired tactile value. Note in the 'Madonna' we have been looking at, how the shadows compel us to realize every concavity, and the lights every convexity, and how, with the play of the two, under the guidance of line, we realize the significant parts of each figure, whether draped or undraped. Nothing here but has its architectonic reason. Above all, every line is functional; that is to say, charged with purpose. Its existence, its direction, is absolutely determined by the need of rendering the tactile values. Follow any line here, say in the figure of the angel kneeling to the left, and see how it outlines and models, how it enables you to realize the head, the torso, the hips, the legs, the feet, and how its direction, its tension, is always determined by the action. There is not a genuine fragment of Giotto in existence but has these qualities, and to such a degree that the worst treatment has not been able to spoil them. Witness the resurrected frescoes in Santa Croce at Florence!

"The rendering of tactile values once recognized as the most important specifically artistic quality of Giotto's work, and as his personal contribution to the art of painting, we are all the better fitted to appreciate his more obvious though less peculiar merits must add, which would seem far less extraordinary if it were not for the high plane of reality on which Giotto keeps us. Now what is behind this power of raising us to a higher plane of reality but a genius for grasping and communicating real significance? What is it to render the tactile values of an object but to communicate its material significance? A painter who, after generations of mere manufacturers of symbols, illustrations, and allegories, had the power to render the material significance of the objects he painted, must, as a man, have had a profound sense of the significant. No matter, then, what his theme, Giotto feels its real significance and communicates as much of it as the general limitations of his art and of his own skill permit. When the theme is sacred story, it is scarcely necessary to point out with what processional gravity, with what hieratic dignity, with what sacramental intentness he endows it; the eloquence of the greatest critics has here found a darling subject. But let us look a moment at certain of his symbols in the Arena at Padua, at the 'Inconstancy', the 'Injustice', the 'Avarice', for instance. 'What are the significant traits', he seems to have asked himself, 'in the appearance and action of a person under the exclusive domination of one of these vices? Let me paint the person with these traits, and I shall have a figure that perforce must call up the vice in question! So he paints 'Inconstancy' as a woman with a blank face, her arms held out aimlessly, her torso falling backwards, her feet on' the side of a wheel. It makes one giddy to look at her. 'Injustice' is a powerfully built man in the vigour of his years dressed in the costume of a judge, with his left hand clenching the hilt of his sword, and his clawed right hand grasping a double hooked lance. His cruel eye is sternly on the watch, and his attitude is one of alert readiness to spring in all his giant force upon his prey. He sits enthroned on a rock, overtowering the tall waving trees, and below him his underlings are stripping and murdering a wayfarer. 'Avarice' is a homed hag with ears like trumpets. A snake issuing from her mouth curls back and bites her forehead. Her left hand clutches her money bag, as she moves forward stealthily, her right hand ready to shut down on whatever it can grasp. No need to label them: as long as these vices exist, for so long has Giotto extracted and presented their visible significance.

"Still another exemplification of his sense for the significant is furnished by his treatment of action and movement. The grouping, the gestures never fail to be just such as will most rapidly convey the meaning. So with the significant line, the significant light and shade, the significant look up or down, and the significant gesture, with means technically of the simplest, and, be it remembered, with no knowledge of anatomy, Giotto conveys a complete sense of motion such as we get in his Paduan frescoes of the 'Resurrection of the Blessed', of the 'Ascension of our Lord', of the God the rather in the 'Baptism', or the angel in 'Zacharias' Dream'.

"This, then, is Giotto's claim to everlasting appreciation as an artist: that his thoroughgoing sense for the significant in the visible world enabled him so to represent things that we realize his representations more quickly and more completely than we should realize the things themselves, thus giving us that confirmation of our sense of capacity which is so great a source of pleasure."

- From Bernard Berenson, "Italian Painters of the Renaissance"

 GIOTTO_giotto_stigmata

Giotto Confirmation of the Stigmata Upper Basilica of San Francesco, Assisi c. 1288-1292

 GIOTTO_giotto_rule_dtl

Giotto Franciscan Rule Approved Detail Upper Basilica of San Francesco, Assisi c. 1288-1292

 GIOTTO_giotto_rule

Giotto Franciscan Rule Approved Upper Basilica of San Francesco, Assisi c. 1288-1292

 GIOTTO_GIOTTO_PRESENT

GIOTTO The Presentation of the Virgin c. 1305 Fresco Cappella dell'Arena, Padua

 GIOTTO_giotto_pentecost

Giotto Pentecost c. 1305 Scrovegni Chapel, Padua

 GIOTTO_GIOTTO_MADONNA_DTL

GIOTTO Madonna in Glory DETAIL of Madonna and Christ c. 1311 Tempera on panel 128 x 90 1/2 in. (325 x 204 cm) Galleria degli Uffizi, Florence

 GIOTTO_giotto_madonna_dc

Giotto Madonna and Child c. 1320 Tempera on panel 33 5/8 x 24 3/8 in (85.5 x 62 cm) National Gallery of Art, Washington

 GIOTTO_GIOTTO_MADONNA

GIOTTO Madonna in Glory c. 1311 Tempera on panel 128 x 90 1/2 in. (325 x 204 cm) Galleria degli Uffizi, Florence

 GIOTTO_giotto_john

Giotto St John the Evangelist c. 1320 Tempera on panel 31 7/8 x 21 5/8 in (81 x 55 cm) Musee Jacquemart-Andre, Abbaye de Chaalis, Senlis, France

 GIOTTO_giotto_isaac

Giotto Isaac Rejects Esau Upper Basilica of San Francesco, Assisi c. 1288-1292

 GIOTTO_giotto_innocents

Giotto Slaughter of the Innocents Scrovegni Chapel, Padua c. 1305

 GIOTTO_giotto_enthroned_dtl

Giotto Madonna and Child Enthroned Detail c. 1295/97 Tempera on panel 70 7/8 x 35 3/8 in (180 x 90 cm) San Giorgio alla Costa, Florence

 GIOTTO_giotto_enthroned

Giotto Madonna and Child Enthroned c. 1295/97 Tempera on panel 70 7/8 x 35 3/8 in (180 x 90 cm) San Giorgio alla Costa, Florence

 GIOTTO_giotto_crucifixion_dtl

Giotto Crucifixion Detail Scrovegni Chapel, Padua c. 1305

 GIOTTO_giotto_crucifixion

Giotto Crucifixion Scrovegni Chapel, Padua c. 1305

 GIOTTO_giotto_crucifix

Giotto Crucifix c.1300 Tempera on panel 14 ft 4 in x 9 ft 11 1/4 in (437 x 303 cm) Tempio Malatestiano, Rimini

 GIOTTO_GIOTTO

GIOTTO di BONDONE The Mourning of Christ c. 1305 Fresco Cappella dell'Arena, Padua

giotto_Homage_of_a_Simple_Man

Giotto

Giotto

Giotto. Homage of a Simple Man. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_The_Marriage_Procession_of_the_Virgin

Giotto

Giotto

Giotto. The Marriage Procession of the Virgin. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Angel_of_Annunciation

Giotto

Giotto

Giotto. The Angel of Annunciation. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Mission_of_Archangel_Gabriel

Giotto

Giotto

Giotto. The Mission of Archangel Gabriel. Detail. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Mission_of_Archangel_Gabriel

Giotto

Giotto

Giotto. The Mission of Archangel Gabriel. Detail. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Visitation

Giotto

Giotto

Giotto. The Visitation. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_Rejection_of_Joachim's_Sacrifice

Giotto

Giotto

Giotto. Rejection of Joachim's Sacrifice. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Angel_Appearing_to_St

Giotto

Giotto

Giotto. The Angel Appearing to St. Anne. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Sacrifice_of_Joachim

Giotto

Giotto

Giotto. The Sacrifice of Joachim. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_Presentation_at_the_Temple

Giotto

Giotto

Giotto. Presentation at the Temple. Detail. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Bringing_of_the_Rods

Giotto

Giotto

Giotto. The Bringing of the Rods. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Wooers_Praying

Giotto

Giotto

Giotto. The Wooers Praying. 1302-1305.Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Joachim_Taking_Refuge_among_the_Shepherds

Giotto

Giotto

Giotto. Joachim Taking Refuge among the Shepherds. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Marriage_of_the_Virgin

Giotto

Giotto

Giotto. Marriage of the Virgin. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Marriage_Procession_of_the_Virgin

Giotto

Giotto

Giotto. The Marriage Procession of the Virgin. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Nativity_and_Adoration_of_the_Shepherds

Giotto

Giotto

Giotto. The Nativity and Adoration of the Shepherds. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Nativity_and_Adoration_of_the_Shepherds

Giotto

Giotto

Giotto. The Nativity and Adoration of the Shepherds. Details. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Presentation_of_Jesus_in_the_Temple

Giotto

Giotto

Giotto. The Presentation of Jesus in the Temple. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_Jesus_Among_the_Doctors

Giotto

Giotto

Giotto. Jesus Among the Doctors. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Betrayal_of_Judas

Giotto

Giotto

Giotto. The Betrayal of Judas. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_Washing_of_the_Feet

Giotto

Giotto

Giotto. Washing of the Feet. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Kiss_of_Judas

Giotto

Giotto

Giotto. Kiss of Judas. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Mocking_of_Christ_and_Flagellation

Giotto

Giotto

Giotto. The Mocking of Christ and Flagellation. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_Meeting_at_the_Golden_Gate

Giotto

Giotto

Giotto. Meeting at the Golden Gate. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Carrying_of_the_Cross

Giotto

Giotto

Giotto. The Carrying of the Cross. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Lamentation

Giotto

Giotto

Giotto. Lamentation. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Ressurection_(Noli_me_tangere)

Giotto

Giotto

Giotto. Ressurection (Noli me tangere). 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Pentecost

Giotto

Giotto

Giotto. The Pentecost. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Christ_Purging_the_Temple_and_Pentecost

Giotto

Giotto

Giotto. Christ Purging the Temple and Pentecost. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Last_Judgement

Giotto

Giotto

Giotto. The Last Judgement. Detail. (Enrico Scrovegni Presents the Model of the Church to the Virgin Mary). 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Last_Judgement

Giotto

Giotto

Giotto. The Last Judgement. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Last_Judgement

Giotto

Giotto

Giotto. The Last Judgement. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Lamentation

Giotto

Giotto

Giotto. Lamentation. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Vault

Giotto

Giotto

Giotto. The Vault. The Virgin Mary and the Infant Christ, Surrounded by Four Prophets. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_St _Francis_Giving_His_Cloak_to_a_Poor_Man

Giotto

Giotto

Giotto. St. Francis Giving His Cloak to a Poor Man. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_Vault_of_the_Doctors_of_the_Church

Giotto

Giotto

Giotto. Vault of the Doctors of the Church. ca. 1290-1295. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_Vault_of_the_Doctors_of_the_Church,_St

Giotto

Giotto

Giotto. Vault of the Doctors of the Church, St. Jerome. ca. 1290-1295. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_The_Crucifix_in_San_Damiano

Giotto

Giotto

Giotto. The Crucifix in San Damiano. Before 1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_St _Francis_before_Sultan

Giotto

Giotto

Giotto. St. Francis before Sultan. Before 1300. Fresco. St. Francis, Upper Church, Assisi, Italy

giotto_The_Apparition_at_Arles

Giotto

Giotto

Giotto. The Apparition at Arles. Before 1300. Fresco. St. Francis, Upper Church, Assisi, Italy

giotto_Receiving_the_Stigmata

Giotto

Giotto

Giotto. Receiving the Stigmata. Before 1300. Fresco. St. Francis, Upper Church, Assisi, Italy

giotto_The_Death_of_St

Giotto

Giotto

Giotto. The Death of St. Francis. Before 1300. Fresco. St. Francis, Upper Church, Assisi, Italy

giotto_Dream_of_Innocent_III

Giotto

Giotto

Giotto. Dream of Innocent III. Before 1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_Madonna_and_Child_Enthroned_with_Saints_(Ognissanti_Madonna)

Giotto

Giotto

Giotto. Madonna and Child Enthroned with Saints (Ognissanti Madonna). Detail. c.1305-1310. Tempera on panel. Galleria degli Uffizi, Florence, Italy.

giotto_View_of_the_interior_towards_the_entrance

Giotto

Giotto

Giotto. View of the interior towards the entrance. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Madonna_and_Child_Enthroned_with_Saints_(Ognissanti_Madonna)

Giotto

Giotto

Giotto. Madonna and Child Enthroned with Saints (Ognissanti Madonna). Detail. c.1305-1310. Tempera on panel. Galleria degli Uffizi, Florence, Italy.

giotto_Stefaneschi_Polyptych

Giotto

Giotto

Giotto. Stefaneschi Polyptych. Side showing St. Peter, middle panel. c.1330. Tempera on panel. Vatican Gallery, Vatican.

giotto_Stefaneschi_Polyptych

Giotto

Giotto

Giotto. Stefaneschi Polyptych. Side showing Christ. c.1330. Tempera on panel. Vatican Gallery, Vatican. p. 81 see files 9, 141-143.

giotto_Stefaneschi_Polyptych

Giotto

Giotto

Giotto. Stefaneschi Polyptych. Side showing Christ. middle panel. c.1330. Tempera on panel. Vatican Gallery, Vatican.

giotto_Peruzzi_and_Bardi_Chapels

Giotto

Giotto

Giotto. Peruzzi and Bardi Chapels. Church of Santa Croce, Florence, Italy.

giotto_Annunciation_to_Zachariah

Giotto

Giotto

Giotto. Annunciation to Zachariah. c. 1313/14. Fresco. Peruzzi Chapel, Church of Santa Croce, Florence, Italy

giotto_Birth_and_Naming_of_John_the_Baptist

Giotto

Giotto

Giotto. Birth and Naming of John the Baptist. c. 1313/14. Fresco. Peruzzi Chapel, Church of Santa Croce, Florence, Italy

giotto_The_Feast_of_Herod

Giotto

Giotto

Giotto. The Feast of Herod. c. 1313/14. Fresco. Peruzzi Chapel, Church of Santa Croce, Florence, Italy.

giotto_Vision_of_John_the_Evangelist_on_Patmos

Giotto

Giotto

Giotto. Vision of John the Evangelist on Patmos. c. 1313/14. Fresco. Peruzzi Chapel, Church of Santa Croce, Florence, Italy.

giotto_Raising_of_Drusiana

Giotto

Giotto

Giotto. Raising of Drusiana. c. 1313/14. Fresco. Peruzzi Chapel, Church of Santa Croce, Florence, Italy.

giotto_Raising_of_Drusiana

Giotto

Giotto

Giotto. Raising of Drusiana. Detail. c. 1313/14. Fresco. Peruzzi Chapel, Church of Santa Croce, Florence, Italy.

giotto_Ascention_of_John_the_Evangelist

Giotto

Giotto

Giotto. Ascention of John the Evangelist. c. 1313/14. Fresco. Peruzzi Chapel, Church of Santa Croce, Florence, Italy

giotto_Renunciation_of_Wordly_Goods

Giotto

Giotto

Giotto. Renunciation of Wordly Goods. 1319-28. Fresco. Bardi Chapel, Church of Santa Croce, Florence, Italy.

giotto_Confirmation_of_the_Rule

Giotto

Giotto

Giotto. Confirmation of the Rule. 1319-28. Fresco. Bardi Chapel, Church of Santa Croce, Florence, Italy.

_

Giotto

Giotto

N/A

giotto_Apparition_at_Arles

Giotto

Giotto

Giotto. Apparition at Arles. 1319-1328. Fresco. Bardi Chapel, Church of Santa Croce, Florence, Italy.

giotto_Stigmatization

Giotto

Giotto

Giotto. Stigmatization. 1319-1328. Fresco. Bardi Chapel, Church of Santa Croce, Florence, Italy

giotto_Baroncelli_Polyptych

Giotto

Giotto

Giotto. Baroncelli Polyptych. Detail, central part. 1334. Tempera on panel. Baroncelli Chapel, Church of Santa Croce, Florence, Italy.

giotto_Baroncelli_Polyptych

Giotto

Giotto

Giotto. Baroncelli Polyptych. Detail, left part. 1334. Tempera on panel. Baroncelli Chapel, Church of Santa Croce, Florence, Italy.

giotto_Crossing_vault

Giotto

Giotto

Giotto. Crossing vault. 1316-19. Fresco. St. Francis, Lower Church, Assisi, Italy.

giotto_Christ_Entering_Jerusalem

Giotto

Giotto

Giotto. Christ Entering Jerusalem. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_St _Francis_in_Glory

Giotto

Giotto

Giotto. St. Francis in Glory. 1316-19. Fresco of the vault. St. Francis, Lower Church, Assisi, Italy

giotto_Allegory_of_Poverty

Giotto

Giotto

Giotto. Allegory of Poverty. 1316-19. Fresco of the vault. St. Francis, Lower Church, Assisi, Italy.

giotto_Allegory_of_Obedience

Giotto

Giotto

Giotto. Allegory of Obedience. 1316-19. Fresco of the vault. St. Francis, Lower Church, Assisi, Italy.

giotto_Allegory_of_Chastity

Giotto

Giotto

Giotto. Allegory of Chastity. 1316-19. Fresco of the vault. St. Francis, Lower Church, Assisi, Italy.

giotto_The_Last_Judgment

Giotto

Giotto

Giotto. The Last Judgment. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Christ_Purging_the_Temple

Giotto

Giotto

Giotto. Christ Purging the Temple. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_Preaching_before_Pope_Honorius_III

Giotto

Giotto

Giotto. Preaching before Pope Honorius III. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_The_Wedding_Feast_at_Cana

Giotto

Giotto

Giotto. The Wedding Feast at Cana. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Kiss_of_Judas

Giotto

Giotto

Giotto. The Kiss of Judas. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Adoration_of_the_Magi

Giotto

Giotto

Giotto. The Adoration of the Magi. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Death_of_the_Virgin

Giotto

Giotto

Giotto. The Death of the Virgin. c.1310. Tempera on panel. Staatliche Museen zu Berlin, Gemaldegalerie, Berlin, Germany

giotto_St _Francis_Receiving_the_Stigmata_with_Three_Scenes_from_His_Legend:_The_Vision_of_Pope_Innocent_III,_the_Pope_Receiving_the_Statutes_of_the_order_of_St

Giotto

Giotto

Giotto. St. Francis Receiving the Stigmata with Three Scenes from His Legend: The Vision of Pope Innocent III, the Pope Receiving the Statutes of the order of St. Francis, and St. Francis Preaching to the Birds. c.1295. Tempera on panel. Louvre, Paris, France

giotto_Madonna_and_Child_Enthroned_with_Saints_(Ognissanti_Madonna)

Giotto

Giotto

Giotto. Madonna and Child Enthroned with Saints (Ognissanti Madonna). c.1305-1310. Tempera on panel. Galleria degli Uffizi, Florence, Italy.

giotto_Madonna_and_Child_with_St

Giotto

Giotto

Giotto. Madonna and Child with St. Nicholas, St. John the Evangelist, St. Peter and St. Benedict (Badia Polyptych). c.1300. Tempera on panel. Galleria degli Uffizi, Florence, Italy.

giotto_View_of_the_interior_towards_the_apse

Giotto

Giotto

Giotto. View of the interior towards the apse. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_Madonna_and_Child

Giotto

Giotto

Giotto. Madonna and Child. 1320-1330. Tempera on wood. National Gallery of Art, Washington, DC, USA.

giotto_The_Epiphany

Giotto

Giotto

Giotto. The Epiphany. c.1320. Tempera on panel. Metropolitan Museum of Art, New York, USA

giotto_Homage_of_a_Simple_Man

Giotto

Giotto

Giotto. Homage of a Simple Man. Detail. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_Homage_of_a_Simple_Man

Giotto

Giotto

Giotto. Homage of a Simple Man. Detail. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy

giotto_The_Confirmation_of_the_Rule

Giotto

Giotto

Giotto. The Confirmation of the Rule. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy

giotto_The_Confirmation_of_the_Rule

Giotto

Giotto

Giotto. The Confirmation of the Rule. Detail. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_The_Vision_of_the_Chariot_of_Fire

Giotto

Giotto

Giotto. The Vision of the Chariot of Fire. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy

giotto_The_Vision_of_the_Thrones

Giotto

Giotto

Giotto. The Vision of the Thrones. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_Joachim's_Dream

Giotto

Giotto

Giotto. Joachim's Dream. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Expulsion_of_the_Demons_from_Arezzo

Giotto

Giotto

Giotto. The Expulsion of the Demons from Arezzo. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_The_Expulsion_of_the_Demons_from_Arezzo

Giotto

Giotto

Giotto. The Expulsion of the Demons from Arezzo. Detail. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_The_Celebration_of_Christmas_at_Greccio

Giotto

Giotto

Giotto. The Celebration of Christmas at Greccio. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_The_Mirracle_of_the_Spring

Giotto

Giotto

Giotto. The Mirracle of the Spring. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_Preaching_to_the_Birds

Giotto

Giotto

Giotto. Preaching to the Birds. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_The_Death_of_Knight_of_Celano

Giotto

Giotto

Giotto. The Death of Knight of Celano. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_Preaching_before_Pope_Honorius_III

Giotto

Giotto

Giotto. Preaching before Pope Honorius III. Detail. 1295-1300. Fresco. St. Francis, Upper Church, Assisi, Italy.

giotto_The_Angel_Appearing_to_St

Giotto

Giotto

Giotto. The Angel Appearing to St. Anne. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Joachim's_Dream

Giotto

Giotto

Giotto. Joachim's Dream. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Meeting_at_the_Golden_Gate

Giotto

Giotto

Giotto. The Meeting at the Golden Gate. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Christ_Before_Caiphus

Giotto

Giotto

Giotto. Christ Before Caiphus. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Birth_of_Mary

Giotto

Giotto

Giotto. The Birth of Mary. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

_

Giotto

Giotto

N/A

giotto_The_Nativity

Giotto

Giotto

Giotto. The Nativity. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Adoration_of_the_Magi

Giotto

Giotto

Giotto. The Adoration of the Magi. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

_

Giotto

Giotto

N/A

giotto_The_Massacre_of_the_Innocents

Giotto

Giotto

Giotto. The Massacre of the Innocents. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_The_Wedding_Feast_at_Cana

Giotto

Giotto

Giotto. The Wedding Feast at Cana. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Raising_of_Lasarus

Giotto

Giotto

Giotto. Raising of Lasarus. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_Christ_Entering_Jerusalem

Giotto

Giotto

Giotto. Christ Entering Jerusalem. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_Christ_Entering_Jerusalem

Giotto

Giotto

Giotto. Christ Entering Jerusalem. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_St _Stephen

Giotto

Giotto

Giotto. St. Stephen. 1320-1325. Tempera on panel. Horne Museum, Florence, Italy

giotto_The_Mocking_of_Christ_and_Flagellation

Giotto

Giotto

Giotto. The Mocking of Christ and Flagellation. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Crucifixion

Giotto

Giotto

Giotto. The Crucifixion. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Resurrection

Giotto

Giotto

Giotto. The Resurrection. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Wedding_Feast_at_Cana_and_The_Deposition_of_Christ

Giotto

Giotto

Giotto. The Wedding Feast at Cana and The Deposition of Christ. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Allegory_of _Injustice

Giotto

Giotto

Giotto. The Allegory of Injustice. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Last_Judgement

Giotto

Giotto

Giotto. The Last Judgement. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Last_Judgement

Giotto

Giotto

Giotto. The Last Judgement. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Last_Judgement

Giotto

Giotto

Giotto. The Last Judgement. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Last_Judgement

Giotto

Giotto

Giotto. The Last Judgement. Detail. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Madonna_and_Child_Enthroned_with_Saints_(Ognissanti_Madonna)

Giotto

Giotto

Giotto. Madonna and Child Enthroned with Saints (Ognissanti Madonna). Detail. c.1305-1310. Tempera on panel. Galleria degli Uffizi, Florence, Italy.

giotto_Crucifix

Giotto

Giotto

Giotto. Crucifix. 1290-1300. Tempera on panel. Santa Maria Novella, Sacristy, Florence, Italy

giotto_The_Feast_of_Herod

Giotto

Giotto

Giotto. The Feast of Herod. Detail. c.1320s. Fresco. Santa Croce, Chapel Peruzzi, Florence, Italy.

giotto_The_Feast_of_Herod

Giotto

Giotto

Giotto. The Feast of Herod. Detail. c.1320s. Fresco. Santa Croce, Chapel Peruzzi, Florence, Italy.

giotto_St _John_the_Evangelist_at_Patmos

Giotto

Giotto

Giotto. St. John the Evangelist at Patmos. Detail. c.1320s. Fresco. Santa Croce, Chapel Peruzzi, Florence, Italy.

giotto_The_Resurrection_of_Drusiane

Giotto

Giotto

Giotto. The Resurrection of Drusiane. Detail. c.1320s. Fresco. Santa Croce, Chapel Peruzzi, Florence, Italy.

giotto_The_Resurrection_of_Drusiane

Giotto

Giotto

Giotto. The Resurrection of Drusiane. Detail. c.1320s. Fresco. Santa Croce, Chapel Peruzzi, Florence, Italy.

giotto_The_Renunciation_of_Worldly_Goods

Giotto

Giotto

Giotto. The Renunciation of Worldly Goods. Detail. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence, Italy.

giotto_The_Renunciation_of_Worldly_Goods

Giotto

Giotto

Giotto. The Renunciation of Worldly Goods. Detail. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence, Italy.

giotto_The_Apparition_at_Arles

Giotto

Giotto

Giotto. The Apparition at Arles. Detail. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence, Italy.

giotto_Death_of_St

Giotto

Giotto

Giotto. Death of St. Francis and Inspection of Stigmata. Detail. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence, Italy.

giotto_Death_of_St

Giotto

Giotto

Giotto. Death of St. Francis and Inspection of Stigmata. Detail. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence, Italy.

giotto_Baroncelli_Polyptych

Giotto

Giotto

Giotto. Baroncelli Polyptych. 1334. Tempera on panel. Santa Croce, Baroncelli Chapel, Florence, Italy.

giotto_Death_of_St

Giotto

Giotto

Giotto. Death of St. Francis and Inspection of Stigmata. Detail. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence, Italy.

giotto_St _Claire

Giotto

Giotto

Giotto. St. Claire. Detail. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence, Italy.

giotto_Confirmation_of_the_Rule

Giotto

Giotto

Giotto. Confirmation of the Rule. Detail. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence, Italy

giotto_The_Apparition_to_Brother_Augustin_and_the_Bishop

Giotto

Giotto

Giotto. The Apparition to Brother Augustin and the Bishop. Detail. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence, Italy.

giotto_Allegory_of_Chastity

Giotto

Giotto

Giotto. Allegory of Chastity. c.1320s. Fresco. Santa Croce, Bardi Chapel, Florence, Italy.

giotto_The_Allegory_of _Injustice

Giotto

Giotto

Giotto. The Allegory of Injustice. 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_

Giotto

Giotto

Giotto. The "coretti" (the "Secret Chapels"). 1304-1306. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Charity

Giotto

Giotto

Giotto. Charity. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Hope

Giotto

Giotto

Giotto. Hope. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy

giotto_Faith

Giotto

Giotto

Giotto. Faith. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Stefaneschi_Polyptych

Giotto

Giotto

Giotto. Stefaneschi Polyptych. Side showing St. Peter. c.1330. Tempera on panel. Vatican Gallery, Vatican.

giotto_Prudence

Giotto

Giotto

Giotto. Prudence. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Fortitude

Giotto

Giotto

Giotto. Fortitude. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Temperance

Giotto

Giotto

Giotto. Temperance. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Despair

Giotto

Giotto

Giotto. Despair. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Inconstancy

Giotto

Giotto

Giotto. Inconstancy. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Anger

Giotto

Giotto

Giotto. Anger. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Anger

Giotto

Giotto

Giotto. Anger. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Idolatry

Giotto

Giotto

Giotto. Idolatry. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_Envy

Giotto

Giotto

Giotto. Envy. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy.

giotto_The_Angel_of_Annunciation

Giotto

Giotto

Giotto. The Angel of Annunciation. 1302-1305. Fresco. Capella degli Scrovegni, Padua, Italy