The Baroncelli Family Commissions a Master- Giotto

As an early Renaissance artist, Giotto (1266-1337) gained prestige as a fresco painter, adhering to a naturalistic style of painting and depicting realistic human expression (Zophy 88). Although Giotto is known for his portrayals of Saint Francis of Assisi, I will focus on the piece of art at the center of the Baroncelli Polyptych, which is the Coronation of the Virgin. This particular piece was intended as an altarpiece for a church in Florence, commissioned by the Baroncelli family and completed in 1334, late in Giotto's life (wga.hu). This contextual aspect of the work demonstrates the interconnectedness of church and state (or at the least, the ruling class) in terms of power during the period. The family reinforced their own position in Florence through the chapel and their provision of adornments for it- hence the altarpiece. However, the painting itself does not seem to reflect anything remarkably secular, other than the general regality of appearance. Overall, the painting depicts a spiritual scene, one framed by artistic aims of naturalism, order, and unity.

In particular, one can observe the unique sense of naturalism that Giotto infused in the Coronation of the Virgin. For one, the artist utilizes a relatively soft palette of colors, even if the hints of red and the predominant scheme of gold sets up the importance of the scene. The angels, far from otherworldly, appear rather ordinary, brown hair modestly arranged, and clothes merely consisting of simple robes of one color. In fact, their wings attract little attention, folded neatly back and only a soft gold.  Jesus and Mary both appear in white. Interestingly, Mary is perhaps depicted more modestly than typical, with both neck and hair covered, which may be a reflection of matronly status. The most ornate items in the painting are the crown being placed on Mary’s head and the pink/gold patterned fabric wrapped around the two. In general, all the figures in this centerpiece of the Polyptych give a sense of earthly solidness, perhaps indicative of both Giotto’s style and the connection between earth and heaven. In addition, the viewer does have some sense of depth, which Giotto was pioneering in for the period, especially given the perception of distance between the angels and the seated Mary and Jesus (Zophy 88). In terms of gender, it is interesting that Jesus and Mary are both seated and on an equal level, if Mary’s head is still lowered in order to receive the crown. Overall, this painting and its context indicate the importance of religion, the prominence of frescoes, and the secular influence on art in a way that illuminates the culture of the time period.

 

 

Sources:

Image & Info- http://www.wga.hu/html_m/g/giotto/z_panel/5baronce/index.html

Zophy, Jonathan W. A Short History of Renaissance and Reformation Europe. Prentice Hall, 2009. Print.