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GIOTTINO (1324-1357)
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See also:GIOTTINO (1324-1357) , an See also:early Florentine painter. See also:Vasari is the See also:principal authority in regard to this artist; but it is not by any means easy to bring the details of his narrative into See also:harmony with such facts as can now be verified. It would appear that there was a painter of the name of Tommaso (or Maso) di Stefano
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termed Giottino; and the Giottino of Vasari is said to have been See also:born in 1324, and to have died early, of See also:consumption, in 1357,—See also:dates which must be regarded as open to considerable doubt. Stefano, the See also:father of Tommaso, was himself a celebrated painter in the early revival of See also:art; his See also:naturalism was indeed so highly appreciated by contemporaries as to See also:earn him the appellation of " Scimia della Natura " (See also:ape of nature). He, it seems, instructed his son, who, however, applied himself with greater predilection to studying the See also:works of the See also:great See also:Giotto, formed his See also:style on these, and hence was called Giottino. It is even said that Giottino was really the son (others say the great-See also:grandson) of Giotto. To this statement little or no importance can be attached. To Maso di Stefano, or Giottino, Vasari and See also:Ghiberti attribute the frescoes in the See also:chapel of S. Silvestro (or of the Bardi See also:family) in the Florentine See also: From the See also:evidence of style, some See also:modern connoisseurs assign to the same See also:hand the paintings in the funeral' vault of the See also:Strozzi family, below the Cappella degli Spagnuoli in the church of S. Maria Novella, representing the crucifixion and other subjects. Vasari ascribes also to his Giottino the frescoes of the See also:life of St See also:Nicholas in the See also:lower church of See also:Assisi. This See also:series, however, is not really in that See also:part of the church which Vasari designates, but is in the chapel of the See also:Sacrament; and the works in that chapel are understood to be by Giotto di Stefano, who worked in the second See also:half of the 14th See also:century—very excellent productions of their See also:period. They are much damaged, and the style is hardly similar to that of the See also:Sylvester frescoes. It might hence be inferred that two different men produced the works which are unitedly fathered upon the half-legendary " Giottino," the consumptive youth, solitary and melancholic, but passionately devoted to his art. A large number of other works have been attributed to the same hand; we need only mention an " Apparition of the Virgin to St See also:Bernard," in the Florentine See also:Academy; a lost See also:painting, very popular in its See also:day, commemorating the See also:expulsion, which took See also:place in 1343, of the See also:duke of See also:Athens from See also:Florence; and a See also:marble statue erected on the Florentine campanile. Additional information and CommentsThere are no comments yet for this article.
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