True to it's common characteristics, Chimabue's "Enthroned Madonna and Child" stays loyal to the style of Italo-Byzantine art. Giotto's "Ognissanti Madonna" however, in some key areas, strays away from the conventional techniques of the style.
Chimabue's approach to composition in the artwork "Enthroned Madonna and Child" was extremely confirmative to the time period. He made use of the medieval heiracy of scale, making Mary and baby Jesus much larger than other figures, therefore making them the focal point of the painting. This was to emphasize their importance. They are also placed centrally on the painting, again to direct the eye towards them and to show their importance as the subject of the painting. The layout is very symmetrical, with even amounts of figures (the angels) on each side, all facing towards Mary and child. These angels are "stacked" which looks unrealistic and doesn't achieve convincing depth. Underneath, there are 4 saints, also symmetrically placed; one saint under the left and right column, and two in the middle. In the throne, there is an impressive attempt at 3D form. All of the mentioned features are characteristic of Italo-Byzantine art.
The composition of Giotto's "Ognissanti Madonna" also stays loyal to most characteristics of Italo-Byzantine art. The medieval heriachy of scale makes the image of Mary and Jesus the largest and surrounded by smaller angels, symbolizing importance. Like "Enthroned Modonna and Child", Mary and Jesus are placed centrally in the painting. Giotto has created more convincing 3D form in the throne. True to the characteristics of the style, this painting is heavily symmetrical. The angels are placed in even groups to the side of the throne, however it is the way that they are grouped that demonstrates a subtle change. The angels are arranged in a more realistic and convincing manner one behind the other and appear to be taking up their own space', unlike previous Italo-Byzantine art.
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