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- W2036579238 abstract "GIOTTO'S Paduan frescoes are often reproduced one by one as a series of separate panel pictures.1 Even Roger Fry, with his fine understanding of compositional values in painting, did not notice any co-ordination among them. “The design,” he wrote, “is made up of the sum of a number of separate compositions. The time had not come for co-ordinating these into a single scheme, as Michelangelo did in the ceiling of the Sistine.”2 Wilhelm Suida,3 and with him Dagobert Frey,4 expressed a somewhat different judgment. In opposing Giotto to the Quattrocento masters, they declared that the series of his frescoes at Padua must be envisaged in a temporal succession; in fact they call Giotto's composition “successive.” Indeed Giotto's Paduan frescoes have to be considered beginning with the events of the Virgin's life and finishing with Christ's Passion. Meanwhile, in examining them more attentively, one may find many hints as to the way Giotto himself wished his frescoes to be “read.”5" @default.
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- W2036579238 date "1947-09-01" @default.
- W2036579238 modified "2023-09-27" @default.
- W2036579238 title "The Parallelism of Giotto's Paduan Frescoes" @default.
- W2036579238 doi "https://doi.org/10.1080/00043079.1947.11407784" @default.
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