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Vol. 1: Life Giotto (1334) is the first European artist about whom it is possible to write following the schema of "life and work". The situation of the sources, however, is complicated: On Giotto's life, there are – on the one hand – biographical accounts from the mid-fourteenth century onwards that responded to various ideological requirements (patriotism, humanism, Renaissance ideology, cult of the artist); on the other, there is extensive documentary material from Giotto's lifetime, which seems to reflect less the biography of an artist than that of a bourgeois businessman resolutely climbing the social ladder. The present volume focuses on this second aspect of the Giotto figure's double life relating it to the form of existence of the pre-modern artist. Vol. 2: Works The paintings examined and contextualised in this volume are those secured for Giotto through early written sources. These sources also help to reconstruct the sequence of his works and artistic inventions as is plausible in the context of media culture in the decades around and after 1300: while Giotto was spiritually and intellectually formed in the sphere of the Florentine Dominicans, his artistic path began in Rome in the shadow of the Curia. The breakthrough to his own artistic concept came immediately before and during his work in Padua. In addition to prominent churchmen, ecclesiastical institutions, and the King of Naples, his clients were predominantly members of Italy's urban and financial elites. The adoption and further development of his inventions by other - especially Sienese - painters pressured him in his later years to try new approaches again. Vol. 3: Survival Giotto is considered by many to be the founder of modern painting. This thesis is discussed and modified in the present volume on an empirical basis. What emerges is that Giotto's impact cannot be reduced simply to the introduction of the study of nature. Rather, his art was involved in the development of pictorial idioms that were attuned to the skills and interests of their audiences. The new approaches in his painting contributed in particular to the possibility of examining and communicating psychological, narrative and allegorical content of great complexity outside the media of language and text, which not only changed the face of European art but certainly contributed to the intellectual opening of Western societies.

The Renaissance in Italy continues to exercise a powerful hold on the popular imagination and on scholarly enquiry. This Companion presents a lively, comprehensive, interdisciplinary, and current approach to the period that extends in Italy from the turn of the fourteenth century through the latter decades of the sixteenth. Addressed to students, scholars, and non-specialists, it introduces the richly varied materials and phenomena as well as the different methodologies through which the Renaissance is studied today both in the English-speaking world and in Italy. The chapters are organized around axes of humanism, historiography, and cultural production, and cover a wide variety of areas including literature, science, music, religion, technology, artistic production, and economics. The diffusion of the Renaissance throughout Italian territories is emphasized. Overall, the Companion provides an essential overview of a period that witnessed both a significant revalidation of the classical past and the development of new, vernacular, and increasingly secular values.

Giotto (1334) is the first European artist about whom it is possible to write following the schema of "life and work". The situation of the sources, however, is complicated: On Giotto's life, there are – on the one hand – biographical accounts from the mid-fourteenth century onwards that responded to various ideological requirements (patriotism, humanism, Renaissance ideology, cult of the artist); on the other, there is extensive documentary material from Giotto's lifetime, which seems to reflect less the biography of an artist than that of a bourgeois businessman resolutely climbing the social ladder. The present volume focuses on this second aspect of the Giotto figure's double life relating it to the form of existence of the pre-modern artist.

A major re-evaluation of Boccaccio's status as literary innovator and cultural mediator equal to that of Petrarch and Dante.

In this book, Henrike Lange takes the reader on a tour through one of the most beloved and celebrated monuments in the world – Giotto's Arena Chapel. Paying close attention to previously overlooked details, Lange offers an entirely new reading of the stunning frescoes in their spatial configuration. The author also asks fundamental questions that define the chapel's place in Western art history. Why did Giotto choose an ancient Roman architectural frame for his vision of Salvation? What is the role of painted reliefs in the representation of personal integrity, passion, and the human struggle between pride and humility familiar from Dante's Divine Comedy? How can a new interpretation regarding the influence of ancient reliefs and architecture inform the famous “Assisi controversy” and cast new light on the debate around Giotto's authorship of the Saint Francis cycle? Illustrated with almost 200 color plates, this volume invites scholars and students to rediscover a key monument of art and architecture history and to see it with new eyes.

The paintings examined and contextualised in this volume are those secured for Giotto through early written sources. These sources also help to reconstruct the sequence of his works and artistic inventions as is plausible in the context of media culture in the decades around and after 1300: while Giotto was spiritually and intellectually formed in the sphere of the Florentine Dominicans, his artistic path began in Rome in the shadow of the Curia. The breakthrough to his own artistic concept came immediately before and during his work in Padua. In addition to prominent churchmen, ecclesiastical institutions, and the King of Naples, his clients were predominantly members of Italy's urban and financial elites. The adoption and further development of his inventions by other - especially Sienese - painters pressured him in his later years to try new approaches again.