The frescoes of the Italian painter and architect Giotto marked with their birth the opening of a completely different page in the narration of artistic history. Until the heyday of his work, the sculptors of Italy followed the rules of the medieval and Roman antique traditions of drawing.
Giotto’s painting breaks the connection with the painting technique of the past, up to a complete refusal to follow its laws. Florentines believe that the illustrious master crossed the threshold into the new era of art, which they are undoubtedly right.
In the three-year period of the Early Renaissance from 1302, the artist worked to ennoble the interior decoration of the chapel walls in Padua. His work was extremely productive - 38 religious scenes from the New Testament. The famous panel by Giotto is the central mural “Mourning of Christ”.
The image focuses on the mixed faces of the murdered Christ and Mother. It is in this center of greatest emotional stress that all objects and characters of the canvas are compositionally directed. The sloping surface of the rock as if by an arrow points to the Holy Family. The views of the heavenly and earthly participants in the mournful scene are all visually and mentally immersed in what is happening.
Mary Magdalene cries at the feet of the dead Christ, other female figures wring their hands with bitterness, righteous holy men patiently experience an irreplaceable loss, majestic stocky figures sitting with their backs to the beholder dressed in mourning cloaked their heads with cloaks, golden-white flying angels are so humanly heartbroken.
The general emotional background of the painting “Mourning of Christ” is Giotto's ingenious artistic technique. All participants in the event are involved in what is happening, and the position of their bodies, the detailed folds of clothes, the ratio of blackouts and lighted areas create an incredibly realistic spatial depth of the picture.
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