Giotto, The Ognissanti Madonna

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Giotto, The Ognissanti Madonna발음듣기

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[DR. STEVEN ZUCKER] Giotto is not a Renaissance painter, but he's laying that foundation.발음듣기

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20, perhaps 30 years after Cimabue painted the large altar piece for Santa Trinita, Giotto, his student, paints the "Madonna" and child enthroned as well that we think came from tradition of Ognissanti in Florence.발음듣기

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[DR. BETH HARRIS] And this is a Mary like none we've ever seen before. She occupies space.발음듣기

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She has a monumentality, and presence, and physicality.발음듣기

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[DR. STEVEN ZUCKER] It's totally different from anything that we saw at the end of the 1200s.발음듣기

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If you think about Cimabue, or even if you think about Duccio in Sienna, there's a kind of delicacy, a kind of elegance that those are figures that are almost paper thin.발음듣기

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And here, Giotto's Madonna is solid.발음듣기

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She weighs a lot.발음듣기

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There's no knocking her over.발음듣기

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[DR. BETH HARRIS] No, and it's not just the size of her body.발음듣기

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It's also all of that use of modeling that we see.발음듣기

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[DR. STEVEN ZUCKER] Light and shadow, the turn of her body that's created by the transition from highlights to shade.발음듣기

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[DR. BETH HARRIS] Exactly, which we can see in her neck, around her breasts, pulling the drapery across toward the Christ Child.발음듣기

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[DR. STEVEN ZUCKER] We see that in the Christ Child as well and even in the angels around her.발음듣기

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This is so different from that real sense of flatness or the sense of drawing.발음듣기

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This seems much more sculptural.발음듣기

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[DR. BETH HARRIS] With Giotto, we have a real sense of Mary sitting inside her throne.발음듣기

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Her knees are clearly foreshortened.발음듣기

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If you look back at the Duccio, she turns her body so that her thighs are parallel to the picture plane.발음듣기

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But the knees in Giotto's "Madonna" come forward.발음듣기

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[DR. STEVEN ZUCKER] They really are foreshortened.발음듣기

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[DR. BETH HARRIS] Creating an illusion of space.발음듣기

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[DR. STEVEN ZUCKER] Yeah, it's true.발음듣기

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And then of course, there's a little bit more of a rational space for her to exist in.발음듣기

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This is not a painting that uses linear perspective.발음듣기

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But it is a painting that functions as a precursor in some ways.발음듣기

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I mean, look, for example, at the specificness with which the artist places us, the viewer, in relationship to the architecture that he's portraying.발음듣기

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Now, if you look at it carefully, clearly we're looking down to the step in the foreground.발음듣기

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But we're looking up at the ceiling of the throne.발음듣기

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And there's a left-right axis as well.발음듣기

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We can see a little bit more of the window on the right side.발음듣기

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So we know that we're actually favored on the left a little bit.발음듣기

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And so it makes sense that we're just below Christ, and we're just to his left.발음듣기

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So Giotto is placing us in a very particular point in relation to these divine figures.발음듣기

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And it is making room for us.발음듣기

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[DR. BETH HARRIS] As individuals, as viewers.발음듣기

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[DR. STEVEN ZUCKER] Giving us a kind of dignity in relationship to the divine.발음듣기

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And that is an inherently Renaissance idea.발음듣기

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And what I think is really remarkable is that the Old Testament prophets so that we saw in the Cimabue are now brought out of the basement, and they flank the Virgin Mary.발음듣기

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And we can actually see their faces, at least two of them, framed in the wings of the throne itself.발음듣기

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So it's as if Giotto is actually suggesting to us that a painting can be a kind of window that we can look into, that we can look through, and that a painting is a kind of frame in which we can enter with our eyes.발음듣기

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[DR. BETH HARRIS] That's the reason that Giotto's painting has a kind of emotional power.발음듣기

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Even within this very traditional composition, all of that use of gold, all of these things that are still medieval, Giotto is literally making room.발음듣기

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[DR. STEVEN ZUCKER] In a sense making a space for us in this room.발음듣기

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Because this is a world that we can inhabit.발음듣기

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This is a place that we know where there are solids, where there's gravity, where there is, in a sense, all of the physical forces that our bodies contend with.발음듣기

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And we're able to inhabit this space in a much more direct way than in the previous paintings.발음듣기

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[DR. BETH HARRIS] So she's in Heaven, but she's still here with us.발음듣기

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[DR. STEVEN ZUCKER] That basic conflict will power the Renaissance for the next several hundred years.발음듣기

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How do we incorporate, how do we bring together our physical experience and our understanding, our emotional attachment to the divine?발음듣기

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