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Re-Visualising Giotto's 14th-Century Assisi Fresco “Exorcism of the Demons at Arezzo”

Re-Visualising Giotto's 14th-Century Assisi Fresco “Exorcism of the Demons at Arezzo”

Theodor G. Wyeld
Copyright: © 2015 |Pages: 23
ISBN13: 9781466681422|ISBN10: 146668142X|EISBN13: 9781466681439
DOI: 10.4018/978-1-4666-8142-2.ch012
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MLA

Wyeld, Theodor G. "Re-Visualising Giotto's 14th-Century Assisi Fresco “Exorcism of the Demons at Arezzo”." Handbook of Research on Maximizing Cognitive Learning through Knowledge Visualization, edited by Anna Ursyn, IGI Global, 2015, pp. 358-380. https://doi.org/10.4018/978-1-4666-8142-2.ch012

APA

Wyeld, T. G. (2015). Re-Visualising Giotto's 14th-Century Assisi Fresco “Exorcism of the Demons at Arezzo”. In A. Ursyn (Ed.), Handbook of Research on Maximizing Cognitive Learning through Knowledge Visualization (pp. 358-380). IGI Global. https://doi.org/10.4018/978-1-4666-8142-2.ch012

Chicago

Wyeld, Theodor G. "Re-Visualising Giotto's 14th-Century Assisi Fresco “Exorcism of the Demons at Arezzo”." In Handbook of Research on Maximizing Cognitive Learning through Knowledge Visualization, edited by Anna Ursyn, 358-380. Hershey, PA: IGI Global, 2015. https://doi.org/10.4018/978-1-4666-8142-2.ch012

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Abstract

In this chapter, Giotto's Assisi fresco, “Exorcism of the Demons at Arezzo,” was modelled and analysed in three-dimensions. The process revealed that Giotto's techniques for creating the illusion of depth in his paintings were more advanced than initially thought. His Exorcism fresco was chosen as it is often heralded as an exemplar of the initial shift to the later perspective style of the Renaissance proper. The 3D modelling of the fresco revealed much that could not be deduced by other means. An aerial view of the architectural elements in his fresco shows Giotto's ordered urban layout. That a fully perspective view can be generated, which closely matches the original fresco, suggests a deeper understanding of the geometric construction of depth cues in Giotto's work than previously reported.

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