Enthroned Madonna by Cimabue vs. Enthroned Madonna by Giotto

Cimabue, born into the world as Cenni Di Pepo in 1240, was a huge contributing factor in the transition from medieval art into renaissance art. He challenged the artistic norm of the time and provoked a new naturalism, which encapsulated a desire to observe the natural world (Kleiner, 2010). This would be the start of naturalism, leading to humanism, which would ultimately birth the Renaissance.
Giotto Di Bondone, was born in 1266 in Florence, Italy. He was a student of Cimabue's and managed to catapult the world into a new exciting time for artistic impression. He broke free from the gothic, byzantine art that dominated the times and managed to not only bring in a new perspective on revealing nature, but managed to teach others how to view the visible world as their source of inspiration (Kleiner, 2010).Giotto was recognized for so many things during his life. The Enthroned Madonna by Giotto will reveal some of the important characteristics he left behind.
Cimabue's Enthroned Madonna stands approximately 12 feet tall and was placed above the altar at Santa Trinita Church. It can now be viewed at Galleria Uffizi in Florence. Cimabue's rendition of the Enthroned Madonna was painted on tempura with beautiful illumination from its gold leafing. Dr. Steven Zucker and Dr. Beth Harris provide some background to this piece that help us understand the placement of the objects in the painting. They explain that Mary was easier to relate to than Christ, and that people revered her as an intercessor, and a means to a relationship with God. It helps us see the relation of Mary's altar to the viewer and the fact that Mary is directly pointing to the infant Jesus as if He is our means to God himself. (Cimabue, Santa Trinita Madonna, 2012).
Giotto's Enthroned Madonna was painted for the Church of Ognissanti in Florence, Italy. It is painted on wood with tempura. The faculty at East Tennessee State University (ETSU) explain that Giotto's version of the Enthroned Madonna has been dubbed the most influential painting of the 14th century. In the following they describe what sets this painting apart: "He turned this painting style, with its 2-dimensional, lifeless quality, into a 3- dimensional art characterized by naturalism and the full expression of human emotion. Through the innovative use of light and shade, and the placement of figures so as to create depth, Giotto was able to paint realistic-looking individuals, rather than the flat, ornamental depictions found in most illuminated manuscripts or Italian altar paintings" (Giotto, The Ognissanti Madonna, 2012).

Dr. Steven Zucker and Dr. Beth Harris describe Giotto as literally making room for us as the viewer. It is as if he invites us in to the painting establishing Christianity as a world we can inhabit, not just sit in reverence of. This creates a very emotional bond between the painting and the viewer.
There are great contrasts between Cimabue and Giotto in regards to their Enthroned Madonna. Cimabue is somewhat dull, one dimensional, and typical of pre-renaissance art. You can walk through museums in Italy and see a thousand byzantine works of art which some people feel that if you have seen one, you have seen them all. Mary is unrelatable, and the piece lacks a connection between the artist and the content and therefore creates a deficit of passion overall. On the other hand, Giotto's Mary is much more ornate, provides dimensions and layers and creates a realistic portrayal of Mary and Jesus. Giotto shows more artistic skill overall than Cimabue which hints toward an artistic revolution, the impending Renaissance. Our Renaissance Mary allows us to connect on a spiritual level with our religion We are, like the saints and prophets, on a more even level with the revered Madonna and Christ. This is unlike Cimabue's Madonna which is traditional, pale, far off and intangible and on a level to be revered, not engaged with. Works Cited

De Nepi, Simona. "Cimabue and Pisa: Simona Di Nepi reviews an enthralling exhibition in Pisa that makes a convincing case for the influence the city's painters had on the development of Tuscan art in the thirteenth century." Apollo June 2005: 96+. Academic OneFile. Web. 20 Oct. 2012.

Gaddi, Taddeo, ca. 1300-1366. "A Triptych Central Panel: The Madonna And Child Enthroned With Saints; Wings: The Nativity With The Angel Of The Annunciation; And The Crucifixion With The Virgin Annunciate [Art Reproduction]." Apollo (London, England) 173.588 (2011): 63. Art Full Text (H.W. Wilson). Web. 20 Oct. 2012.

Harris, Beth, and Steven Zucker. "Cimabue, Santa Trinita Madonna." - Smarthistory. Khan Academy, n.d. Web. 24 Nov. 2012. .

Harris, Beth, and Steven Zucker. "Giotto, The Ognissanti Madonna (Madonna Enthroned)." Giotto, The Ognissanti Madonna. Khan Academy, n.d. Web. 13 & 24 Nov. 2012. .

Kleiner, Fred S., Gardner's Art Through The Ages, The Western Perspective. 13th ed., Vol. 1, Boston: Wadsworth, 2010.

"Madonna-and-child-enthroned-with-saints." Arts Conntected, n.d. Web 13 Nov 2012. .