Artistic Styles of Cenni di Peppi (Cimabue), Duccio di Buoninsegna, and Giotto di Bondone
Individually, Cenni di Peppi (Cimabue), Duccio di Buoninsegna, and Giotto di Bondone produced and encouraged artistic styles that dominated the 13th and early 14th centuries. Their styles primarily described the narrative painting form. In this sense, the artists stressed the naturalistic charm in order to document critical knowledge about sociopolitical and economic events in the respective periods. The artists skillfully investigated the observations and enhanced interpretation of Gothic methods, Italo-Byzantine practices, and the transition of metaphysical values based on the distinctive handling of Maestas. Despite using similar techniques, simplistic differences included the target audience, pattern of drawing, and contents among others.
Duccio's Maesta
Duccio's Maesta is an altarpiece characterized by unique attributes of the pictorial representation of the virgin. The front side of the Maesta illustrated a Child and Madonna enthroned with the angels and saints as well as the predella of the Christ and prophets. In the religious context, the Maesta symbolized the Virgin Mary and the followers and Jesus childhood teachings with the prophets. Therefore, Duccio's work mirrored a devotional image of the Virgin on the anterior phase. Perhaps, Duccio aimed to express solidarity for the increasing number of persons that ascribed to the belief of virgin. This theme is expressly demonstrated by the considerable size and portrayal of the enthroned Queen of Heaven (Art in Tuscany 1). Importantly, Duccio incorporated the concept of narrative possibly from the lower left to the top right of the art giving the audience a flawless expression and analysis of the virgin cult. Given that the drawing was supposed to be used in the church, Duccio further enhanced the narrative aspect by portraying the passion cycle at the back to enhance clergy's viewing and interpretation.
The Ognissanti Madonna by Giotto
The Ognissanti Madonna by Giotto illustrates a traditional portrayal of the Virgin Mary carrying Jesus Christ on her laps in the presence of angels. As portrayed by Duccio, the narrative aspect of the art communicates an inherent analysis of the concept of newfound naturalists and belief in Christianity. Contrary to Gothic art, Giotto's Maesta represents a new dimension of art characterized by flattened gold background and components. In addition, the painting reflected a new dimension and advancement of the Byzantine art in three-dimensional sculpture (Art in Tuscany 1). Unlike Duccio and Cimabue, the arts have distinctive features including three-dimensional arts and weighty centralized Madonna and the child. Conversely, Cimabue's Maestro painted in 1280 depicted the Virgin Mary, the child, and angels. The main difference is that the art had angels placed directly above the virgin while Duccio and Giotto productions had angels spatially spread.
Summary
Duccio, Cimabue, and Giotto idiosyncratically explored the psychology of figures using the narrative approach. Importantly, the artists facilitated the transition from the Gothic art to the Italo-Byzantine techniques. Nonetheless, Cimabue pioneered the art and influenced the subsequent work of Duccio and Giotto. In addition, the production formed the basis for interpretation of the concept of the Virgin Mary, the child, and angels. In the Christianity aspect, the art symbolized the concept of early Christianity and culture. Conversely, Duccio and Giotto explicitly incorporated the narrative technique to expound the Cimabue's explanation of the Italo-Byzantine and humanity. Overall, Duccio, Giotto and Cimabue maesta is a crucial point of reference for examining the artists' narrative approaches. Giotto and Duccio's provide a naturalistic viewpoint while Cimabue's tactic simplifies humanistic comprehension of the artwork.
Work Cited
Art in Tuscany. n.d. http://www.travelingintuscany.com/art/cimabue.htm.
