Guariento di arpo biography of martin

  • Coronation of the Virgin Altarpiece: Washing of the feet 1344 Guariento di Arpo (Italian, c.1310-c.1370) Tempera and gold leaf on panel.
  • Briefly discusses the iconography of this portrait of St. Martin of Tours.
  • Artist Name: Guariento di Arpo (Italian, c.1310-c.1370) ; Title: Coronation of the Virgin Altarpiece: Saint Martin and the Beggar ; Date: 1344 ; Medium: Tempera.

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    Guariento di Arpo relaxes perfection

    Sofia Silva

    Guariento di Arpo’s response to the authority of his Padua predecessor Giotto is one where grace blends with Gothic style and humanism

    Pictorial perfection ruled among artists in 13th century Padua. Mater perspectivae picturae, “the mother of painted perspective:” this is how the Euganean city was addressed. Crowds of scientists, opticians, builders, and ladies friends of the arts who bore the virginal names of Fina, Lieta, and Giliola gathered on the city’s squares, those corners now called “Duomo”, “Signori,” “delle Erbe,” and “della Frutta.” Padua was known to be a crossroad between art and science, a balance that the lords of the city, the Carraresi, strenuously protected. Great Aristotelian philosophers lived in Padua, first of all Pietro d’Abano, professor at the University, scholar of Islamic medicine, and friend of Marco Polo, but also Lovato Lovati, Albertino Mussato, Marsilio of Padua, Biagio Pelacani, and the Dondi dall’Orologio’s. This circle of pre-humanist intellectuals was responsible for the foundation of modern justice and science, and is now key to understanding the painting of Guariento di Arpo.

    To the untrained and uncertain eye, Guariento might come across as belon

  • guariento di arpo biography of martin

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    St Martin's History of the Sword, 14th-15th C

    In this post we continue our exploration of sword development using the period depictions of St. Martin. (part 1) As art becomes a venue for secular and religious powers to display wealth and status in the 14th and 15th centuries, the depictions of St. Martin flourish with more detail and variation. 

    The sculpture below, dated to 1340, is interesting as it shows the sword being gripped with the fore finger over the guard. This is an early example of this use of the index finger. The guard and pommel are some what damaged but this detail is clearly shown, creating a firm data point in the discussion of how a sword could be used for the mid 14th century. Details like this are important to illustrate the use and development of the sword and its use.

    Mid 1340's statue of St. Martin by Pisano

     The use of art to refine the story of sword development can leave one with questions that challenge are concepts of sword design. In the following picture we see a sword with what seems to be no guard. It also shows an extended forefinger and this may cover a short guard or it might well be showing a copy of an ancient sword as the artist may have seen sculpture illustrating such swords from the Roman period or Byzantine examples. But either

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    OTHER NARRATIVE Copies

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