Italian and Northern Renaissance 1. Giotto's app

In the view of Renaissance Humanists, based on somewhat exaggerated ancient literary accounts, realism was the outstanding trait of ancient painting. Thus it was the growing realism of painting that enhanced its stature. Much of this stemmed, of course, from Giotto's innovative approach to volume, space, psychology, and realistic depiction of the world in general. In most senses, of course, he was primarily responsible for clarifying the problems. The stage-like space in his Lamentation (1305-6) and other frescoes in the Arena and Bardi Chapels was created primarily by the overlapping of the figures (rather than by landscape or architecture). But these figures were so much more convincing in

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ference between them was that Leonardo left relatively few completed works while Dürer's legacy of paintings, drawings, and prints was considerable. Leonardo was a restless innovator who was often hired for services outside the visual arts. His first appointment at Milan, for example, was as a military architect and engineer and his artistic pursuits were only an official sideline. He left numerous works unfinished and his copious notebooks were a jumble of sketches and subjects written in a mirror hand designed for secrecy. Leonardo was also an experimenter who sometimes attempted new methods that simply did not work. The most famous instance of this was what is probably his masterpiece, the Last Supper (c. 1495-98) at Milan, which began to fall apart shortly after completion because Leonardo used a new, untested oil-tempera medium. Dürer, on the other hand, was a persistent worker who was always primarily employed as a visual artist. Though he was interested in as wide a variety of subjects (mechanics, theories of perspective, observation of natural phenomena) as Leonardo, his writings, including his extensive journals, were composed to be read by others. In addition, though Dürer is well known as the first painter to ex
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Approximate Pages = 37 (250 words per page)