Kashara Johnson

Dr. Noa Turel

ARH 424
1 September 2015
Taddeo Gaddis Life of the Virgin Cycle Analysis
The early period of the Italian Renaissance was a period of increased and rapid spread of
art style and influence. An increased focus on naturalism as well as a revitalized interest in
ancient Roman culture gave way for artists such as Giotto, Daddi, and Gaddi. Gaddi specifically
was an assistant for Giotto, a pivotal artist who replaced Cimabues Byzantium style of painting
thus introducing Italy to the Renaissance. Taddeo Gaddi painted The Life of the Virgin Cycle
from about 1328-1330 and it can be viewed in the Baroncelli Chapel in Santa Croce, Florence.
This series of fresco paintings embodies all of the qualities of the Renaissance including figure
variation, lighting, and perspective which further aided in solidifying the stylistic period that
would last for another two centuries.
Architecturally, the chapel is a Gothic style masterpiece with high, vaulted ceilings and
beautiful arches. An array of biblical scenes and religious figures covers the chapel from floor to
ceiling. Most works are painted, but some are sculpted. The stain glass windows that are centered
behind the altar and were also designed by Gaddi and feature a collection of saints. The windows
allow for natural sunlight to shine through in order to flood the chapel with a brilliant array of
colors. This aids in heightening the emotional experience of the worshippers and adds to the
overall grandeur of the altar space.

On the left side of the altar is Gaddis The Life of the Virgin Cycle . The wall consists of
about six panels each depicting Marys life beginning with the expulsion of her father Joachim
from the temple and the announcement of the angel. At the very top, on left side, Joachims
offerings are considered worthless to the priest because Joachim and his wife were unable to bear
children1. On the upper right side, some time has elapsed and an angel miraculously appears and
tells Joachim the good news that his wife is pregnant (with Mary). The folds of the figures
clothes along with an in deeper desire to accurately represent the human body lends itself to a
greater sense of naturalism within the overall work. The individuality of each figures face and
bodily position creates a narrative in which the viewer can more easily connect on a human and
emotional level. As discussed in lecture, the early Renaissance still greatly emphasizes religion
and religious figures, however, the infusion of nature, humanity, knowledge, and emotion gives a
more human dimension to the biblical stories. Gaddis association with the Franciscan Order as
well as the influence of his mentor Giotto is what leads to his incorporation of these Renaissance
ideals into the Life of the Virgin Cycle2.

1 Hartt, Frederick, and David G. Wilkins. "Florentin Art of the Early Trecento." In History of
Italian Renaissance Art: Painting, Sculpture, Architecture, 78-79. 7th ed. Upper Saddle River:
Prentice Hall, 2011.

2 Andrew Ladis. "Gaddi (i)." Grove Art Online. Oxford Art Online. Oxford University Press,
accessed August 30, 2015,
http://www.oxfordartonline.com/subscriber/article/grove/art/T030348pg2.

Lighting is a major component in this work. During the Byzantine period, paintings were
created with an overall light that seemed to illuminate the work as opposed to one light source
that caused the figures and other objects in the painting to cast shadows. The single light source
also creates a sense of urgency as well as awe and that can be seen in the expressions of Joachim
and the two onlookers in the rocky hills. In this specific panel, the lighting from the angel allows
Gaddi the ability to further set the context of the scene. The night skies and clouds are painted
with such colors that create depth of a background. The single light source creates a sense of
urgency as well as awe.
The flatness of the Byzantine stylist period is completely abandoned with the innovative
mix of foregrounds, middle, and backgrounds. The variation of scale push and pull figures back
and forth in a way that gives hierarchy to the work. The linear perspective of the temple allows it
to remain grounded in the forefront while the flatter colors and smaller size of the trees behind
the mountain allows those details to recede into the background.
Taddeo Gaddis The Life of the Virgin is a beautiful example of the freshness that the
Italian Renaissance provided through various stylistic qualities such as naturalism, dramatic
lighting, and perspective.