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Giotto di Bondone (1266-1337) is widely considered to be the father of florentine painting, and indeed even the originator of the rebirth of Italian painting of the Trecento period. His style and genius permeated the social consciousness in the late 13th and early 14th Centuries and persisted to influence and inspire the work of great masters of the age and continued to affect the face of Italian painting right up to 15th Century and beyond. His followers, known as the Giotteschi, were those influential artists who were emulated by Bondone and sought to emulate his genius through their own works. Giotto’s incredible range of works and the speed at which he created them force us to recognise that the use of assistants and pupils for the completion was commissions was a frequent occurrence and we can clearly see the hand of illustrious students such as Maso di Banco and Taddeo Gaddi in several of the old master’s works. Giotto single-handedly redirected the entire conception of form and narrative away from the iconic, highly formal Duecento tradition, and thus rendered the prospect of artists trying to return to the previous stylistic form nearly impossible. It was this revolutionary impact on the world of art that Giotto’s followers responded to so emphatically. Followers such as Bernardo Daddi, Jacopo del Casentino and Masaccio admired several key innovations instigated by the Master and carried it through into their own works long after the time of Bondone.

Giotto brought back into the european world, a lexicon of iconographical and stylistic elements that allowed a new generation of artists to completely alter the path of art. After one of his earliest pieces, the Santa Maria Novella crucifix (c.1288), the previous method of dep…

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…inter of Saint Stephen”- I Paintings by Taddeo Gaddi, in The Burlington Magazine for Connoisseurs, Vol. 52, No. 303, Jun., 1928

Maginnis, H.B.J., Giotto’s World Through Visari’s Eyes, in Zeitschrift fur Kunstgeschichte , 56. Bd., H. 3, 1993

Oertel, R., Early Italian Painting to 1400, Thames and Hudson, London, 1966

Offner, R., A Critical and Historical Corpus of Florentine Painting, New York University, Berlin, 1930, III, II

Offner, R., A Discerning Eye, Pennsylvania State Press, Pennsylvania, 1998

Offner, R., Four Panels, A Fresco and a Problem, in The Burlington Magazine for Connoisseurs, Vol. 54, No. 314., May, 1929

Paatz, E., Die Kirchen von Florenz, Frankfurt am Main, Vol. I, 1955,

Pisani, A., The Crucifix by Giotto, on Opera per Santa Maria Novella, 2009

[Accessed Nov 28, 2013]

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