Word: giotto
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Dates: during 1990-1999
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Then came Giotto. He was an artisan like countless others of the age, though he possessed something his predecessors and contemporaries did not: an inner eye that could see how human figures could be brought to life on a wall. He replaced golden backdrops with the hills, meadows and houses familiar to 14th century Italians. In those earthly settings he placed three-dimensional Christs and Virgins, saints and sinners, painted as ordinary humans invested with natural emotions. His sweetly weary Madonna locks eyes with the observer as she swaddles a baby-size Jesus...
...Assisi, Italy. Its main purpose is to draw attention to the disaster that struck the great pilgrimage center in September 1997, when an earthquake shook loose the vaults of its upper church, weakening the whole structure and bringing down some 2,000 sq. ft. of frescoes by Cimabue and Giotto in a ruin of colored plaster-dust and tens of thousands of jigsaw-puzzle fragments...
Paintings by Degas, Botticelli, Matisse, Giotto, Velasquez, Sargent and Holbein adorn medieval tapestries, which in turn cover the walls of the Northern European Hall, the Spanish Chapel the Chinese Loggia and the Dutch Drawing Room. Watercolors by Turner and masterpieces by Rembrandt peek out from behind neoclassical chaises lounges. Writings by Napoleon, T.S. Eliot and Sarah Bernhardt fill all nooks and crannies...
...freedom with him--was the 20-ft.-wide mural he did for Peggy Guggenheim. He painted it in one outpouring rush, in a day and a night. Mural isn't by any means an abstract painting. It retains the essence of subject matter shared by most "classical" murals, from Giotto to Matisse--the projection of human figures on a large plane surface. But the movement isn't suave. The figures are arabesques, coiling, jammed together, recognizable as figures because of their verticality but lacking most identifiable signs of the human body. They seem to repeat one another, but in fact...
Pasolini's insatiable appetite for art, literature, music, film and theory led him to devour the work of Giotto, Verdi, Genet, Marx and Rossellini without discrimination, absorbing their genius and using it as inspiration for his own paintings, poems, novels, and, finally, films. His volatile artistic energy took off in every direction...