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Giotto (1270-1337) - Crucifix of Santa Maria Novella (1290-1295 tempera and gold on wood, 578x406 cm) - basilica of Santa Maria Novella in Florence
La Croce di Giotto è considerata un'opera fondamentale per la storia dell'arte italiana, in quanto l'artista approfondisce e rinnova l'iconografia del Christus patiens (già introdotta nell'arte italiana nella prima metà del Duecento da Giunta Pisano).
I bordi del braccio longitudinale della croce sono decorati da motivi geometrici che ricordano una stoffa, mentre ai lati del braccio trasversale troviamo, come di consueto, i mezzobusti dei due dolenti, la Vergine e Giovanni Evangelista.
In basso, sulla base trapezoidale, le rocce in prospettiva formano una base naturalistica di rocce aride, alludente al monte Calvario, su cui è conficcata la croce. Secondo la tradizione medioevale sul monte Calvario era collocata la tomba di Adamo il primo uomo. Il sangue di Cristo scende in rivoli dalla croce e si infiltra tra le rocce, per poi arrivare alla cavità che contiene le ossa di Adamo, come simbolo della redenzione dell'uomo dal peccato, grazie al sacrificio di Cristo.
Giotto abbandonò l'iconografia del Cristo inarcato a sinistra tipica di Giunta Pisano e Cimabue, per dipingerlo in una posa più naturalistica: tutto il corpo sprofonda verso il basso come è evidenziato dalle braccia che corrono oblique e non più parallele al terreno. La testa ciondola in avanti anziché essere appoggiata sulla spalla e anche il busto sporge in avanti rispetto al ventre e al bacino in un doloroso abbandono. Le ginocchia sono piegate in avanti sotto il peso del corpo, seguendo un'ispirazione legata alla tradizione scultorea (di Giovanni Pisano ad esempio), piuttosto che quella tradizionalmente legata alla pittura bizantina. Giotto dispose le gambe incrociate e bloccate da un solo chiodo sui piedi, in una maniera già usata da Nicola Pisano nella lunetta della Deposizione nel portale sinistro del Duomo di Lucca (1270 circa). Colpiscono anche i dettagli delle mani che, ormai prive di forza, hanno le dita mollemente proiettate in avanti rispetto ai palmi inchiodati alla croce, con un'illusione prospettica mai vista prima. Il Cristo di Giotto è più tridimensionale ed occupa uno spazio più voluminoso rispetto a quelli precedenti di Cimabue.
Giotto's Cross is considered a fundamental work for the history of Italian art, as the artist deepens and renews the iconography of Christus patiens (already introduced into Italian art in the first half of the thirteenth century by Giunta Pisano).
The edges of the longitudinal arm of the cross are decorated with geometric motifs reminiscent of a cloth, while at the sides of the transverse arm we find, as usual, the half-busts of the two grieving, the Virgin and John the Evangelist.
Below, on the trapezoidal base, the rocks in perspective form a naturalistic base of arid rocks, alluding to Mount Calvary, on which the cross is embedded. According to medieval tradition, the tomb of Adam the first man was placed on Mount Calvary. The blood of Christ descends in rivulets from the cross and infiltrates between the rocks, and then reaches the cavity that contains the bones of Adam, as a symbol of man's redemption from sin, thanks to the sacrifice of Christ.
Giotto abandoned the iconography of the arching Christ on the left typical of Giunta Pisano and Cimabue, to paint him in a more naturalistic pose: the whole body sinks downwards as evidenced by the arms that run oblique and no longer parallel to the ground. The head dangles forward instead of being resting on the shoulder and also the bust protrudes forward with respect to the belly and pelvis in a painful abandonment. The knees are bent forward under the weight of the body, following an inspiration linked to the sculptural tradition (by Giovanni Pisano for example), rather than that traditionally linked to Byzantine painting. Giotto arranged the legs crossed and blocked by a single nail on the feet, in a manner already used by Nicola Pisano in the lunette of the Deposition in the left portal of the Cathedral of Lucca (about 1270). Also striking are the details of the hands that, now without strength, have their fingers softly projected forward with respect to the palms nailed to the cross, with a perspective illusion never seen before. Giotto's Christ is more three-dimensional and occupies a more voluminous space than the previous ones by Cimabue.
parallel universe.
who doesn't like travelling? i travel all the time. i my mind. i travel all the places existing and visually non-existing.
brain is amazing. it can take you everywhere you want even when you're sitting in your bed room and trying to have a conversation with yourself.
if only you could see the visually non-existing existences, i wonder if you really would like to travel to those places. the places, people and animals? ever wondered if they come to our world and travel into our lives as well?
parallel existence, a very interesting imagination of man. aliens, robots, ghosts, spirits...human mind can't rest itself much! how they look? why they exist? why they harm or why the look after? just questions?
do we really need to get scared? or we called the greatest of the creations for a reason?
31/52
Week 31 in the group 'Project 52 - 2017' and the theme was 'Parallel Lines'
A barley field in North Norfolk recently harvested.
Parallel layers of shadowy mountains progressively lit by the rising sun in Blue Ridge National Park NC. Took a short trip to Asheville and Little Switzerland with my girls in August. Didn't get much weather cooperation for photography but we had a wonderful time stuffing ourselves at Asheville's many terrific restaurants, gem panning near the old McKinney mine in Little Switzerland, hiking around Linville Falls and Duggars Creek and enjoying the sights. On the last morning I left the girls sleeping in and drove up to Beacon Heights to hopefully get some morning color. There was a layer of cloud hanging too low in just the wrong spot for it to really color up, so I pulled out the telephoto to catch some of the early light catching the low lying fog.
All in all a great but too short road trip before the back-to-school grind. I will always enjoy the memories living in that carefree parallel universe for a few days.
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this shoot have been take in the Death Valey in California
i want to print this in very large format on canvas and put it on a wall in my loft
see another version here; www.flickr.com/photos/eldano/3423084327
I was inspired by some great aircraft shots by hoobgoobliin to revisit my photos from the National Air Force Museum of Canada.
Twin props of a Handley Page Halifax Mark VII
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Parallel Void
Brand New Print Available on Kess Gallery
kess.gallery/collections/elemental-symmetry/products/para...
This image is part of the Elemental Symmetry Series by Alexander Kesselaar. The Prints in this series are mirrored to create unique and inspiring artworks that play with the viewer's imagination, similar to the effect achieved in the Rorschach Inkblot Tests.
The Original Image is an aerial shot of a Sunrise at Coalcliff, NSW
#visionaryart #elemental #symmetry
As light quickly fades conditions are beginning to deteriorate as a last-minute parallel run heads out of Castlemaine, as VGR's J549 (barely visible through the trees above the third sitting car) runs light engine back to Maldon alongside A2 986 as the two trains part ways at Castlemaine Junction, with the A2 leading N class N456 on train 8096 returning to Melbourne with Steamrail's tour to the 150th Bendigo Easter Fair. 18/4/22
ODC-Parallel Lines
I was treated to this spider building it's web this morning. It's amazing how precise they are doing this!
Shot with a Minolta CLE
Voigtlander 21mm f/4 Color-Skopar lens
Ilford HP5+ 400 film
Shot at EI 800 and pushed +1
Developed in the Ego Lab using XTOL (1:1, 10:23 min at 75F, agitating first and each minute)
Scanned on a Super Coolscan 5000ED
Press "L". The reflection is real. CPL+Graduated filter & 64 sec exposure did better than I expected on the final slide to even out the difference between incident & reflected side.
Pentax 67ii, SMC 45mm f4, Heliopan sh-pmc CPL, Lee GND 0.6 HE, Fujifilm Velvia 50 (RVP50), self-developed in Fuji Hunt Chrome 6X, IT8-calibrated & wet-mounted drumscan (scanned through PhotoMultiplier Tubes - PMTs - no CCD nor CMOS used in the light detection & digitizing process), no cropping.