Parallelism in the Frescoes in the Oratory of St. George in Padua (1379-84)
2008; Deutscher Kunstverlag; Volume: 71; Issue: 1 Linguagem: Inglês
ISSN
2569-1619
Autores Tópico(s)Renaissance Literature and Culture
ResumoIn producing frescoes for the Oratory of St. George in Padua, Italy, between 1379 and 1384, Altichiero employed parallelism between the pictures thematically and/or formally. Altichiero resorted to vertical parallelism, lateral parallelism, mirror-image parallelism, and perpendicular parallelism. He was undoubtedly inspired by Giotto, who used parallelism in the Arena Chapel, also in Padua. However, whereas Giotto was systematic, designing each vertical pair of images in the Christological cycle so that they were parallel in theme and form, Altichiero was sporadic in his use of the device. He employed parallelism to synchronize his paintings with the architecture itself, thereby rendering the experience of the frescoes and the very space containing them more provocative and significant for the viewer than they would be otherwise.
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