THE GIOTTESQUES
Four school pictures (Nos. 1313, 1315–1317) illustrate the example set by Giotto, who influenced very strongly indeed all art-manifestation during the fourteenth century, an age when the human body was denied all intrinsic significance. His profound feeling, gay colour, high dramatic power, and sense of form mark the emancipation of Italian art from the rigid formalism of the Byzantine manner. He discovered a style which was admirably suited to the spirit of his time, and developed for his own purposes a sense of perspective which he employed with considerable effect, although he never really found a scientific statement of the artistic principles which he instinctively perceived. His indefatigable energy and innate genius enabled him to distance his rivals and to bequeath to his countrymen a heritage which profoundly affected the art of Italy.
Foremost among his followers, who imitated his mannerisms without understanding the full significance of his ideas, was Taddeo Gaddi (1300?–1366), to whom are assigned in the official Catalogue the predella pictures (No. 1302) of (a) The Death of St. John the Baptist, (b) Calvary, and (c) Judas Iscariot. Taddeo Gaddi, a painter and architect, was the godson and pupil of Giotto as well as the pupil of his father, Gaddo Gaddi. Taddeo’s desire to give suitable expression to each of his figures often resulted, as in that of the daughter of Herodias in the second of these panels, in exaggeration.
Taddeo’s son, Agnolo Gaddi (1333–1396), who was described by Ruskin as “rather stupid in religious matters and high art,” may be the painter of the Annunciation (No. 1301), in which we see the Virgin seated in a loggia to the right of the picture. The Archangel Gabriel announces, by the gesture of the right hand, that the Virgin shall be the Mother of the Christ. God the Father is shown in the heavens. Notice the gold background and the mosaics of the loggia. The mechanical methods and uninspired aims of the Giottesques, the artists who worked during the century which followed the death of Giotto, are well seen in the productions of Lorenzo di Bicci (fl. 1370–1409), his son Bicci di Lorenzo (fl. 1373–1424), and his grandson Neri di Bicci (1419–1491). Neri is represented by a Madonna and Child (No. 1397). He might justly be described as a mere manufacturer of Giottesque pictures to order. He brought art down to the level of a trade, his work being flat and his colour raw and inharmonious.
A Virgin and Infant Christ (No. 1563), inscribed “tvrinvs vannis de pisis me piqsit p,” is evidently by Turino Vanni (fl. 1390–1398), a rare artist of this group of Florentine painters. The brief list of his pictures might be increased by having added to it a few panels at Pisa and Assisi, which are erroneously ascribed to Buffalmacco.
Andrea Orcagna (1308?–1368?) and his brother Nardo are not represented in the Louvre, but we have a follower of Agnolo Gaddi in Lorenzo Monaco (1370?–1425), who is seen to advantage in his Christ in the Garden of Gethsemane and his Holy Women preparing the Tomb (No. 1348a), which is inscribed “anno dñi 1408,” and was formerly attributed to Gentile da Fabriano. Lorenzo Monaco is officially credited with a triple picture (No. 1348) of (a) St. Agnes with her lamb and a martyr’s palm branch; (b) St. Lawrence, the artist’s name-saint, holding in his right hand a book and palm branch, and enthroned on a gridiron, the symbol of his martyrdom; and (c) St. Margaret, the patron saint of Woman as Mother, standing on the dragon. Lorenzo Monaco, who is reputed to have been the master of Fra Angelico, usually depicts long, slender, and sinuous bodies. Below this picture hangs a small panel, apparently part of the predella of an unidentified altarpiece. It does not seem to be included in the official Catalogue, and has neither a number by which to identify it nor a label to denote its subject or authorship! The picture has apparently never been referred to or described in any article or book. It certainly represents the Emperor Heraclius carrying the True Cross into Jerusalem. The picture appears to have been painted by Giovanni del Ponte (fl. 1385–1437).
Neither Starnina (1354–1408), who took the traditions of Early Florentine painting to Spain, Masolino (fl. 1383–1435), who is rarely met with out of Italy, nor Masaccio (1401–28), who may be said to have vitalised Italian art, is represented in the Louvre. Tommaso Masaccio, the “Hulking Tom” of Browning, gave to Italy and the world the magnificent series of frescoes which still decorate the Brancacci Chapel of the Carmine Church in Florence. He imparted to his figures such natural movement, vivacity of expression, free attitudes, simple draperies, and excellent modelling that he entirely revolutionised the art of Florence. His figures are, as Vasari said, “so lifelike that they seem to live and breathe.” This series of frescoes was studied with enthusiasm by all the great Florentine painters; Leonardo, Raphael, Michelangelo, and innumerable other artists derived the greatest possible benefit from them.