“Virgin and Child Enthroned, with Prophets” by Cimabue

Virgin and Child Enthroned, with Prophets (Cimabue, ca. 1290-1300), tempera on wood

Cimabue was the link between Byzantine art and the art of the Renaissance. His use of shaded form and realistic proportion would lead to a sweeping revolution in painting, yet his work maintains the stolid architectural grandeur (and sloe-eyed otherworldliness) of art from the eastern empire.  According to Vasari, Cimabue was Giotto’s master, and although scholars have disputed it based on enigmatic sentences in ancient documents, artists accept it as truth because there is so much of Cimabue in Giotto’s works. This painting originally hung in the Vallombrosians church of Santa Trinita in Florence (Cimabue was a Florentine).

Although the Madonna and Roman-philosopher-attired Baby Jesus (and their bevy of dusky angels with ultramarine/scarlet wings) are quite grand, my favorite part of the composition is the giant strange ivory throne they are seated upon and the Old Testament prophets arrayed along the bottom.  From left to right these are Jeremiah, Abraham, David (see his little crown), and Isaiah.  They are reading and writing in phylacteries and the two prophet prophets, Jeremiah and Isaiah are looking up at the messiah, a sight they never beheld, yet beheld before all others.

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Giotto and Sheep

The Birth of Jesus: Scrovegni Chapel (Giotto di Bondone, ca. 1304-1306, fresco)

It’s day two of sheep week! Yesterday’s post got pretty involved with practical and useful aspects of sheep, so today we are veering wildly to the opposite extreme—sheep in art. There are lots and lots of sheep in art from cave paintings of ancient prehistory to Babylonian murals, right up to wild abstract rams by Andrew Wyeth and elegant empty sheep skulls by Georgia O’Keefe. It’s hard to choose from so many beautiful works, so we are going to concentrate on a founding legend from the history of art itself. In art history, there is a point when the anonymous artisans of the middle ages give way to the great named masters of the Renaissance. It is the point where the history of western painting usually starts (although obviously, in reality, there were all sorts of ancient Roman, medieval, and Byzantine antecedents). The point when art becomes the discipline we think of today (with genius masters struggling in their Brooklyn garrets when they are not posting little blog articles about sheep) is usually considered to be the career of Giotto. Giotto lived from 1266 (?) to 1337 and popularized many of the bedrock principals and tropes underlying artistic painting from the early Renaissance right up until the First World War (when painting, like humanity, got all messed up). I put one of his nativity murals at the top of this story to show his use of perspective and shaded forms—innovations often attributed to Giotto. The great art historian Vasari grandiloquently summed up the view that painting originates with Giotto by writing, “In my opinion painters owe to Giotto, the Florentine painter, exactly the same debt they owe to nature, which constantly serves them as a model and whose finest and most beautiful aspects they are always striving to imitate and reproduce.” Gosh.

Cimabue observing the Young Giotto (Gaetano Sabatelli, 19th century, oil)

So where did Giotto come from? Vasari provides that story too. One day the great artisan, Cimabue was passing through the farmland of Tuscany when he saw a lively little shepherd boy surrounded by his flock. The child was scratching pictures of the sheep on a rock with the earth, charcoal, and sticks at hand. The pictures were so beautiful and lifelike that Cimabue was stunned. He went immediately to the shepherd’s master and begged for the privilege of taking the boy as apprentice and teaching him painting (which the astonished yokel immediately granted). Giotto’s genius flowered in Cimabue’s shop with the proper materials and subjects at hand.

Giotto and Cimabue (José María Obregón, 1857, oil on canvas)

The story is dramatic and beautiful. It is like a classical myth or miracle from a saint’s life. Sadly, like classical myths and medieval hagiographies, the story of Giotto’s origin is almost certainly false. Most contemporary art historians don’t even think he studied with Cimabue!   But who cares? This is a myth about the founding of painting. It doesn’t have to be real.

Cimabue und der junge Giotto (Clemens von Zimmermann, 1841, oil on canvas)

Not surprisingly many painters have painted renditions of this subject. Aside from Giotto’s actual painting of sheep, I have used these works from throughout art history to illustrate this strange little tale (I’m sorry if you were fooled into thinking this post was going to be about Giotto’s, you know, art—I guess we’ll have to address that some other time).

Giotto and Cimabue (T. de Vivo ca. late 1700s early 1800s, oil on canvas)

So according to Vasari, western painting grew organically from the Tuscan land and sprang fully grown from the Giotto’s raw genius. That it was a shepherd who had this revelation and that his first (known) subjects were sheep also seems to have symbolic significance. Does this equate artists with Jesus (something Vasari clearly felt) or is it a deeper metaphor about humankind transitioning from farming to skilled work? I wonder what this story really says about artists, truth, and innovation. I wonder even more what it says about the tormented relationship between artists and the whims of the herd…