mid 1330s, was a reminder of the certainty of death and the need for salvation through the church. Above, the fresco of the Triumph of Death ( Camposanto Monumentale, Pisa), ca. The fresco with the Last Judgment and a view of the Dantesque hell comes next. The scene seems conceived by Edgar Allan Poe. Horror permeates everything silently with a chill that makes fear visible. The horses stop their march, menacing, when stepping on the magical territory of death.
On one side, a group of cheerful ladies and handsome gentlemen sing in the most complete abandonment and chanting about the easy life of the senses to the sounds of a clavichord but on the other side, a horse riding, also involving ladies and gentlemen crossing the forest, is suddenly interrupted by three coffins with their decaying corpses which remind them of the triumph of death. 1308-August 25, 1368), nicknamed Orcagna, a group of paintings about the Triumph of Death and the Last Judgment located in the Pisan cemetery, which today are generally attributed to a Pisan painter named Francesco Traini active in Pisa from 1323. Vasari attributed to Andrea di Cione (ca. The destruction of the roof severely damaged everything inside the cemetery, destroying most of the sculptures and sarcophagi and compromising all the frescoes. On 27 July 1944, a bomb fragment from an Allied raid started a fire that lasted for three days in the Camposanto. The earliest fresco has been attributed to Francesco Traini, painted ca. General view of the East wall frescoes of the Camposanto Monumentale (Pisa). These last paintings, mostly destroyed during World War II, will be discussed later instead, the frescoes of the eastern wing must be cited among the works of the disciples of the second generation after Giotto. The decoration of the cemetery lasted more than a century: started by Giotto’s disciples who painted the East wall, it was finished in the 15th century by Florentines, Benozzo Gozzoli (ca. The exterior walls don’t have any window that breaks the wall structure, and therefore lend themselves admirably to be decorated with large frescoes. We have seen in previous essays that the cloister destined for a cemetery in Pisa included a wide gallery of Gothic arches, like a monastic cloister, in which sarcophagi and ancient marbles were accumulated. The generation led by Taddeo Gaddi was followed by Andrea di Bonaiuto (active 1343-1377) and the last painters of the 14th century who worked in the Campo Santo Monumentale of Pisa. 1355, by Taddeo Gaddi (Uffizi Gallery, Florence). Madonna and Child Enthroned with Angels and Saints, tempera on wood, ca.
#GIOTTO DESCENT INTO LIMBO SERIES#
These series of frescoes show Taddeo’s mastery of the style pioneered by Giotto, to which he added a personal interpretation in the representation of architectural backgrounds, such as in the staircase of this particular scene with a bold portrayal of the tri-dimensionality of an object and his interpretation of perspective. 1330 by Taddeo Gaddi, one of the frescoes on the life of the Virgin in the East wall of the Baroncelli Chapel (Basilica of Santa Croce, Florence). The scene of the Presentation of the Virgin, ca. The Gaddi family was not, like Giotto’s, entirely popular: Taddeo’s father was a painter and a mosaic artist, and from the Gaddi lineage came notable merchants, politicians and even cardinals.
From Taddeo learned his own children, Agnolo, Giovanni and Nicola, who continued their father’s workshop for several years. It is often difficult to specify whether a work is by Giotto or Gaddi. Taddeo was a member of Giotto’s workshop from 1313 to 1337 and, according to Giorgio Vasari, he was considered Giotto’s most talented pupil.
But the favorite of these collaborators seems to have been Taddeo Gaddi (ca. 1280-1348), whose deep “giottism” was oriented towards pictorial preciousness. One of the most prominent was Bernardo Daddi (ca. In Padua, Giotto worked with several disciples, and in his Assisi frescoes is clear the collaboration of assistants. Taddeo Gaddi’s main work is the cycle of Stories of the Virgin in the Baroncelli Chapel (Basilica of Santa Croce, Florence), painted between 1328–1338.
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