Word: giottos
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...Liberation and Italian Landscape, have led the artist towards a rediscovery of European art. It is apparent that a number of new influences have been felt by the artist since the days of the stumpy and more photographic realism of Sunday Painter. The influence of European masters like Giotto, he acknowledged as early as the Sacco-Vanzetti series. More recently folk and primitive art, as represented in the Rousseau-like motifs of Summertime or the expressive decoration of Incutus, are apparent, as well as the influence of early European religious art and the grace and poetry of Shahn's figures...
...massive central balcony and surrounding galleries of Manhattan's Metropolitan Museum of Art last week were aglow with an unprecedented display of masterpieces. On view were Giotto's famed Paduan fresco Betrayal of Christ, Piero della Francesca's looming Resurrection, the Louvre's Mona Lisa, El Greco's towering 16-by12-ft. Burial of Count Orgaz and Georges Seurat's 7-by-10-ft. Sunday Afternoon on the Island of La Grande Jatte. To equal the experience, an art lover would have had to visit 26 museums, travel some 15,000. miles...
...lies not in such blameless refereeing but in Rodman's heartfelt reinterpretation of art history, past and present. In a succession of loosely connected essays he shows that art has always been two-faced. Giotto knew how to make the two faces-form and content-merge into one. So did Rembrandt and every other great painter. But artists who try to get around the problem by sacrificing form to content (like the academicians) or content to form (like the most extreme of the moderns) have always fallen flat between...
...Italy this refreshed, humanized vision was carried one step further by Giotto, who incorporated into Western art the nobility of classic models. But in the East, with the growing threat of invasion looming over Constantinople, Byzantine art recoiled into familiar formalism. The murals of Kariye Camii stand revealed as the high point of Byzantine humanism, possibly the last great testimony of Byzantine art in its final flowering...
Promptly from Mr. Bertram Brown came this reply: I don't care about Murillo And Da Vinci leaves me cold; I don't go for Dufy's paintings Done in timid strokes or bold -// Giotto was neurotic, If Utrillo was too meek, I remain quite unaffected As to each of them's technique...