Crucifixion by Giotto
Giotto's artistic style is evident in this work, as he uses a painting technique characterized by precision and attention to detail. The composition of the painting is impressive, as Giotto manages to create a sense of depth and movement in the scene. The figure of Christ on the cross is the focal point of the painting, and his body is depicted with great precision and realism.
Color also plays an important role in this work. Giotto uses a rich and vibrant color palette to create a sense of drama and emotion in the scene. The red and gold tones of Christ's robe contrast with the deep blue of the sky and the dark green of the hill behind the cross.
The Crucifixion is a fresco by Giotto and collaborators, dating back to around 1308-1310 and preserved in the right transept of the lower basilica of Assisi. Created together with the Stories of the Childhood of Christ in the vault of the transept, it is probably the scene that sees the greatest participation of the master.
Against the background of an intense ultramarine sky, the Cross of Christ rises in the center of the scene, surrounded by desperate angels, forming a symmetrical whole. At the foot of the Cross, Magdalene kisses the bleeding feet of Christ, while on the sides there are two groups of figures.
On the left, the Madonna fainted between the pious women, Saint John and two of the Marys: the gestures of desperation of these figures are striking with their arms now raised and joined to their chin, now wide open behind their backs, now raised with open palms.
In the group on the right are the pagans and Jews who turn their backs on Christ (the weakest figures in the scene, assigned to the Master of the Veils), who are counterbalanced by five kneeling Franciscans. These three figures are extraordinary for the expressive crescendo in the turning of the hands and gazes towards the crucified Christ, culminating in the figure of Saint Francis, with the halo. Also interesting is the variation of the profiles, from Saint Bonaventure (the first on the right, with the halo), up to Francis who is arranged more diagonally, in a more complex view. The three in the front row are so physically characterized that they make one think of real portraits.
The figure of Christ quite faithfully recalls the Crucifix of Padua, with the extreme sweetness of the modelling, the color refinement of the milky white body, marked by the signs of flagellation and beatings, and the refinement of the semi-transparent loincloth. The eyes are dull, but not yet completely closed.
The history of the painting is fascinating. It was commissioned by the Bardi family, one of the wealthiest families in Florence in the 14th century, for their private chapel in the church of Santa Croce. The painting was one of the first to depict the crucifixion in a realistic and emotional manner, and it had a major impact on art history.
There are some little-known aspects of this painting that are worth mentioning. For example, it is believed that Giotto used real models to create the figures in the painting, giving it greater realism and authenticity. Furthermore, it is said that Giotto included his own image in the painting, as one of the Roman soldiers standing at the foot of the cross.
This image is a public domain image, which means either that copyright has expired in the image or the copyright holder has waived their copyright. Franciscan Gallery charges for the access to high resolution copy of the image. Manually restoration was necessary in order to improve quality, without covering the original image.
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