Rinuccini Chapel (basilica of Santa Croce) 1370

Editor: Here we have a fresco from the Rinuccini Chapel in the Basilica of Santa Croce, painted around 1370 by Giovanni da Milano. The subdued color palette and rather static poses of the figures give it a very serene, almost solemn feeling. How do you read this particular artwork? Curator: From a formal perspective, I’m struck by the artist's manipulation of space and form. Consider how the figures are arranged—each with a defined contour, contributing to a layered effect. Notice the interplay of geometric shapes. How would you describe the halos, for example? Editor: They're very simple, just flat, round discs behind the heads. They don't really project any sense of depth. Curator: Precisely. And what about the composition of the figures themselves? The way their robes fall, creating a pattern of folds and drapes...do you perceive a system in their distribution of color? Editor: Yes, there’s a definite attempt to balance the colors – a contrast between the cooler blues and greens with the warmer reds and yellows. It almost feels intentional in its arrangement. Curator: Indeed. Observe the structure that underpins the composition; each shape leads us to the other in organized space, culminating in the subject of devotion. This calculated interplay exemplifies a conscious effort to convey sacred stories through structural language. And the fact that it's a fresco contributes further. Do you notice how the color palette works with the texture of the medium? Editor: The matte finish and earthy tones create a sense of depth and almost tactile quality that emphasizes the very nature of devotion that painting is trying to portray. Thank you for the explanation! Curator: The way an artwork speaks is largely down to the arrangement of form, color, and its physical being; studying how this language is constructed enables us to better understand its voice.