Giotto (di Bondone) - Pentecost

Note: This post is part of the “Gothic and Proto-Renaissance period” on the National Gallery collection. These are some of the oldest works of art in the museum’s collection.

Giotto is regarded as the father of Western painting because of his shift away from Byzantine stylisation and introduction of naturalism and creating a sense of pictorial space and perspective.

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Pentecost by Giotto - 1310—18

Beautiful.

This is a biblical rendering of the 12 (count them) apostles receiving the Holy Spirit in the form of a dove and tongues of fire. 

The two witnesses (orange & blue robes) are listening in and marvelling at apostles now-found ability to preach the gospel in different languages. This is the universal mission of Christ’s disciples and is described in the Acts of the Apostles (2:1-13):

When the Day of Pentecost had fully come, they were all with one accord in one place. And suddenly there came a sound from heaven, as of a rushing mighty wind, and it filled the whole house where they were sitting. Then there appeared to them divided tongues, as of fire, and one sat upon each of them. And they were all filled with the Holy Spirit and began to speak with other tongues, as the Spirit gave them utterance.

What makes this special is how — unlike other earlier painters — he seems to introduce a 3D reality and space to his personages and their settings. 

Different faces in looking in different directions, hand raised as though in the middle of speech. The 2nd row is positioned lower giving the illusion of greater distance. To the right, a dove high above giving some spatial depth (due to the pillars painted) and an ornate ceiling above it.

He seems to involve the viewer as a witness in the unfolding Christian dramatics. According to the NG, “his skill at bringing biblical stories to life was hugely influential and he is regarded as the founder of Italian Renaissance painting”.

The Holy Spirit is represented as (1) flames on the apostles heads; and (2), more commonly, as a dove, with rays emanating from it. 

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The Dead Christ and Virgin by Neapolitan follower of Giotto — 1305-40s

The Virgin Mary touches the wound in the side of the dead Christ, while two mourning angels appear above.

The way Christ has been painted is v. morbid. Blood dripping down his stomach forming a pool, only just visible. The way his eyes roll back slightly in their sockets. His gaunt appearance. It’s rather evocative of his suffering.

The interlocking arms and the way Mary’s robes fold, over her head, as they cover her suggests the 3D.

The gold is beautiful.