{"id":3787,"date":"2015-12-07T20:48:30","date_gmt":"2015-12-07T20:48:30","guid":{"rendered":"http:\/\/olgastudio.com\/?p=3787"},"modified":"2015-12-07T20:48:30","modified_gmt":"2015-12-07T20:48:30","slug":"assisi-e-giotto","status":"publish","type":"post","link":"http:\/\/olgastudio.com\/?p=3787","title":{"rendered":"Assisi e Giotto"},"content":{"rendered":"<p>Il ciclo di affreschi nella capella di San Martino nella basilica inferiore di San Francesco, tra i pi\u00f9 belli e fondamentali di tutta la pittura del Trecento, fu attribuito a Simone Maryini solo alla fine del Settecento, con Sebastiano Ranghiasci, un antiquario erudito di Gubbio; il Vasari li aveva assegnati a Puccio Capanna allievo di Giotto, mentre aveva attribuito al Martini il ciclo di Andrea di Bonaiuto nel Cappellone degli Spagnoli in Santa Maria Novella a Firenze. Fu tuttavia il Cavalcaselle, nella sua Storia della Pittura in Italia, del 1885, a ratificare l&#8217;appartenenza a Simone degli affreschi assisiati.<\/p>\n<p>\u00c8 stato pi\u00f9 volye detto che il senese sembra qui voler gareggiare per novit\u00e0 e valore prospettico con lo stesso Giotto. Gi\u00e0 nelle Epistulae de rebus familiaribus Francesco Petrarca scrive che &#171;duos ego novi pictores egregios, nec formosos: Joctum florentinum civem, cuius inter modernos fama ingens est, et Simonem senesem&#187;. Quali affinit\u00e0, dunque si potranno mai riscontrare tra Simone e Giotto? Allusioni chiare e numerose alla pittura del grande artista fiorentino vengono via via registrate dal senese, per esempio, nel suo Crocefisso nella chiesa della Misericordia a San Casciano Val di Pesa: un tenoro ricordo della croce dipinta da Giotto per Santa Maria Novella a Firenze. Negli affreschi assisiati, in particolar modo, la prospettiva gittesca si evidenzia negli scorci dei volti, nelle sferiche teste rapate dei religiosi, solo segnate dalle chieriche sino a divenire elementi di una fantasia geometrica nella aureolata testa del chierico inginocchiato sul corpo di San Martino, nella scena del morte del santo. Si evidenzia poi negli spazi aperti, siano essi scanditi dai precipiti roccioni nella Rinuncia alle armi e nella Resurrezione del fanciullo, o dalle esilissime architetture gotiche \u00a0che inquadrano tutte le altre scene. Tuttavia, le divergenze fra lo stile di questi due sommi \u00e8 grande e innegabile: la petrigna e monumentale saldezza delle figurazioni giottesche, come d&#8217;un tratto bloccate nella fermezza degli atteggiamenti, tutta si scioglie nelle liriche figurazioni di Simone, create come a passo di danza: scene di vita laica e rwligiosa allo stesso tempo, ma impegnate di una aristocratica eleganza, come in raffinati cerimoniali.<\/p>\n<p><a href=\"http:\/\/olgastudio.com\/wp-content\/uploads\/2015\/12\/IMG_20151207_214425.jpg\"><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-medium wp-image-3790\" src=\"http:\/\/olgastudio.com\/wp-content\/uploads\/2015\/12\/IMG_20151207_214425-300x261.jpg\" alt=\"IMG_20151207_214425\" width=\"300\" height=\"261\" srcset=\"http:\/\/olgastudio.com\/wp-content\/uploads\/2015\/12\/IMG_20151207_214425-300x261.jpg 300w, http:\/\/olgastudio.com\/wp-content\/uploads\/2015\/12\/IMG_20151207_214425-1024x893.jpg 1024w, http:\/\/olgastudio.com\/wp-content\/uploads\/2015\/12\/IMG_20151207_214425.jpg 1830w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\n<div id=\"attachment_3789\" style=\"width: 219px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/olgastudio.com\/wp-content\/uploads\/2015\/12\/IMG_20151207_205226.jpg\"><img aria-describedby=\"caption-attachment-3789\" decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-3789\" src=\"http:\/\/olgastudio.com\/wp-content\/uploads\/2015\/12\/IMG_20151207_205226-209x300.jpg\" alt=\"Investitura a cavaliere (1314-1318)\" width=\"209\" height=\"300\" srcset=\"http:\/\/olgastudio.com\/wp-content\/uploads\/2015\/12\/IMG_20151207_205226-209x300.jpg 209w, http:\/\/olgastudio.com\/wp-content\/uploads\/2015\/12\/IMG_20151207_205226-714x1024.jpg 714w, http:\/\/olgastudio.com\/wp-content\/uploads\/2015\/12\/IMG_20151207_205226.jpg 1546w\" sizes=\"(max-width: 209px) 100vw, 209px\" \/><\/a><p id=\"caption-attachment-3789\" class=\"wp-caption-text\">Investitura a cavaliere (1314-1318)<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Il ciclo di affreschi nella capella di San Martino nella basilica inferiore di San Francesco, tra i pi\u00f9 belli e fondamentali di tutta la pittura del Trecento, fu attribuito a Simone Maryini solo alla fine del Settecento, con Sebastiano Ranghiasci, un antiquario erudito di Gubbio; il Vasari li aveva assegnati a Puccio Capanna allievo di [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0},"categories":[1],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.2.1 - 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