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Word Count: 405
Giotto crossed a barrier painters before him could not In fact with his teacher Cimabue the two are often regarded as the founders of modern painting The question at hand is found in this very foundation as Giotto had a sort of naturalness in his paintings that others lacked as Giovanni Boccaccio stated This essay will then explore the reasoning of Boccaccio in an attempt to portray the view of this 14th Century Florentine humanist Likewise I will give my opinion of Giottos work As a contemporary I find Giottos work to be quite unnatural therefore my critique must be taken with a grain of salt knowing that as plain as Giottos work may seem to people today at his time he painted in a revolutionary style completely new to his fellow Florentines A century after Giottos death Boccaccio wrote that Giottos genius looked not so similar to a work of nature as to a work by nature herself What then was the naturalness that Boccaccio saw in Giottos painting alone To begin with Giotto painted people and angels in a rounder more life-like fashion than his predecessors This new geometric perspective led Boccaccio to believe that Giottos paintings looked less like photographs than actually reality It lies in this personification that Giotto before all others was able to capture the illusions of real life in terms of emotion and space on a flat surface The most effective study of Giottos work is the Arena Chapel where over forty of his frescos cover the wall and ceiling To Boccaccio who would have viewed this work first hand not frame by frame with the use of a slide machine or on a computer screen the feeling and emotion emitted would have been all the more powerful At the Arena Chapel various painting cumulatively portray the stories of the Life of Joachim the Life of the Virgin and the Life of Christ In conjunction with one
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