This artist's success did not depend on his ability to express ideal beauty or realistic scenes, but rather his ability to submit metaphor to narration, according to an extended passage about him in Der Cicerone. A book subtitled for the "humanist observers" of painting is t
This artist's success did not depend on his ability to express ideal beauty or realistic scenes, but rather his ability to submit metaphor to narration, according to an extended passage about him in Der Cicerone. A book subtitled for the "humanist observers" of painting is titled for this artist "and the Orators." Susskind burns a chapter of criticism about this artist written by a professor named Fidelman at the end of Bernard Malamud's story "The Last Mohican." A book by Andrew Ladis argues against a narrative understanding of this artist's best-known work, and takes its title from a story in which this artist freehanded a perfect (*) circle to gain the commission for that work from Benedict XI. Vasari recounted a story in which this artist painted an extremely lifelike fly onto a painting by his teacher Cimabue. For 10 points, name this artist often considered to be the first Renaissance painter, who did some interior decoration for the Scrovegni Chapel.
This artist's success did not depend on his ability to express ideal beauty or realistic scenes, but rather his ability to submit metaphor to narration, according to an extended passage about him in Der Cicerone.
Giotto di Bondone [accept Giotto and the Orators; accept Giotto's O]