02. Second Apostle
GIOTTO (Vespignano Colle, 1267 - Firenze, 1337)
The inability of the Sienese school of overcoming the icon. The charge of the Sienese Dante: "People vain" (Purg. XIII). history of iconography and condemnation of Judaism, Psalms 113 and the Sinai. Fito Paez. Iconoclasts of the eighth and ninth century. The controversy of the Abbot Suger and St. Bernard. The Protestant Reformation and the current problems. The risk of idolatry. The remoteness of the icon.
The impulse of humanism and the overcoming of the icon. The new risks involved humanize the sacred. Descartes, I think. Kant, the subject as a guarantee of the real. Hegel, the real is rational. Nietzsche, Superman and death of God. The example of the Eastern tradition. The problem space as a purely Western.
Firenze as the new school capable of overcoming the limits. Dante and the Commedia as an irruption of the human in the divine reality. Parallels between painting and literature. The naturalism of Dante and the Commedia comparisons . Cimabue and Early Naturalism. The discovery of Giotto and the "Pecorella ." Dante and his prophecy:
"Cimabue nella pittura Credette
have the field, and now has Giotto il grido, fame
sì che di colui dark "
(Purg. XI)
Figure Giotto and proximity to the Sienese school in its beginning. Developments dizzy, Firenze, Assisi, Napoli. The custom Cappella Scrovegni in Padova. The Scrovegni family and Dante condemned usurers / financiers. The idea of \u200b\u200bthe votive chapel. The proximity of Venice and the possibility of blue.
Giotto filmmaker. The arrangement of the frescoes. The film mechanism. Plano and assembly. Top actors and stakeholders distribution. Costume. Mounting and flat, the tools of cinema. Continuation of the story. Locations. The depth of the figures. The photography and color. theological depth.
Three continuous history, Joachim, Mary and Jesus. Resources. The role of the extras as witnesses. The problem of motion and its resolution in a single scene. The use of off-field. Weather changes, tenderness and violence. Multiplicity of genres. Police, romance, comedy and drama. The power of sight as expressive material. The questioning look at the camera as the public. Reflection
last. Giotto as a representative of a magical moment in the history of painting. Comparison with Brunelleschi. Infatuation. The memory without nostalgia. St. Augustine: "Love is the weight of the soul." The weight is not a "regret."
