Giotto di Bondone (born 1267, died 1337) was an Italian painter during the late Middle Ages. I learned about him from an article written by a contemporary architect. The architect claimed that Giotto had earned his reputation as a painter by depicting life-like, natural figures against two-dimensional scenery. He likened it to the kind of cut-out figures that were placed on a flannel backdrop in Sunday school. This lent a theatrical, dramatic element to Giotto’s paintings. I became very interested in Giotto’s compositional techniques, and eventually became determined to replicate one of his works for myself. This post is about what I learned in the process.
The Inspiration for My Painting
Giotto is well-known for painting biblical scenes on the walls of the Scrovegni Chapel, in Padua, Italy. I spent a happy hour in the library with a book that depicted all of these frescoes, evaluating whether what the architect had said about Giotto was true. But it was not until at least a year later that I had an experience which brought to mind one of these paintings specifically. I was at a book club meeting, and as I was sitting in my chair, a young woman stabilized herself by taking hold of my shoulder as she went to sit down in the chair beside me. It surprised me, and was not entirely welcome, either. It was fruitful though, in calling to mind the Noli Me Tangere. Giotto’s version of this painting depicts the figure of the resurrected Christ turning away from Mary, after instructing her to stop holding on to him (John 20:17). I wanted to better understand the encounter between Jesus and Mary, and decided then that I would replicate Giotto’s masterwork in my own style.
My Process of Recreating the Fresco
Now, it should be said at the outset that it is not uncommon for artists to copy the work of master painters. In fact, I have an art textbook published in the 1940’s by the Ontario Ministry of Education and almost all of the assignments involve copying to one degree or another. This may no longer be as common, but copying is a legitimate way to learn not only techniques, but more complicated things like composition and the selection of subjects. The original is a fresco, which is made with paint on wet plaster. My version is made of house-paint and acrylic on a heavy-weight cotton canvas. I replicated the original proportions, though my piece is slightly smaller in scale. Due to the degradation of the original work, I used some discernment regarding details which had been obscured. For instance, I judged that the sky ought to be painted in a uniform, rich royal blue, unlike the original, which features a lot of variation. In the same way, I attempted to model the tomb on the left as if was made of marble, even though Giotto’s intentions for this structure were unclear to me. One thing I enjoyed was purchasing gold paint for the halos. I’ve never used it elsewhere in my work. I tend to think the sleeping guards turned out quite well, with a harmonious blend of colour and texture in my finished piece.
Timothy deVries, “Noli Me Tangere, After Giotto,” 2013. House-paint and acrylic on canvas, 46″ x 48″ inches (Artwork © Timothy deVries; photograph by Timothy deVries)
What This Painting Represents
Part of the reason why I painted the Noli Me Tangere was because I couldn’t understand Christ’s words and actions on the basis of their surface appearance in the painting. On first glance, Jesus appears to be rejecting Mary, even though she is pleading with him. However, St. Thomas Aquinas, in his commentary on the book of John, clarifies that Christ was correcting a mistaken impression. From the perspective of the resurrection, when Christ told Mary not to cling to him, “it was like saying, Do not think that I have a mortal life, and can associate with you as before.” Jesus was teaching Mary that he was equal with the Father, and one with God. Further, by assigning Mary the task of announcing his resurrection to the disciples, Jesus gives her the words of life. In light of the good news, the Noli Me Tangere leads away from judgment of Mary and towards the humanity of her encounter in the garden on the morning of the resurrection. By replicating Giotto’s painting, I learned a lot. In the words of St. Thomas Aquinas, “when we see something, we know it to a certain extent, but when we touch it our knowledge is complete.” Mary learned this too.
Collector’s Tips
This piece is being offered for purchase at $1,315 and can be viewed by appointment in my home studio near Hamilton, Ontario. It measures 46’ x 48’ inches and comes unframed; a professionally made oak floating frame in one of various finishes can be purchased and installed at an extra cost. The painting was made in 2013. With references to Giotto’s classic imagery, and to an important theme in Christian theology and art, this piece would be of interest to a church, religious institution, or Christian collector of art.
Shining the Transformative Light of Grace
Noli Me Tangere, After Giotto is a painting that connects a personal experience with a historical work of art, through the lens of an encounter that happened more than 2,000 years ago. The space afforded by these distant times allows for the careful evaluation of an incredibly sensitive moment. So much can be learned by shining the transformative light of grace. As a contemporary artist in Hamilton, Ontario, I was so glad to revisit Giotto’s 700-year-old painting and to learn from Mary and Jesus by copying and contemplating this masterwork. If this piece resonates with you, I invite you to share your thoughts with me via email or on Instagram.
Interested in adding this piece to your collection? Contact me.