Plato and Giotto

First, what are your reflections on Plato's writing about art and artists?

Plato’s work was one of the most influential factors in determining how western culture regarded artists and whether or not they were good and just members of their ideal society. The Republic is a series of Socratic dialogues by Plato over the justice and order in a city state. In this selected reading from “Book X” of The Republic, Socrates is engaged in a dialogue about artists to see if their work and presence has a place within the State. He discusses how art is really just an imitation. For example, if the artist paints a picture of a blacksmith he really doesn’t understand what it is like or to be a blacksmith or know how to do his trade therefore he merely produced an illusion of a blacksmith and his work, which could use it fool people. If the artist wishes to do more than imitate a blacksmith he should be one as being a blacksmith is an occupation of service to the State. A service occupation at that time was more socially acceptable than if you were in the arts. Socrates expresses the importance of truth and reality, and that artists and poets are relinquishing their hold on truth and reality to perform and create the way they do. They “prefer a passionate fitful temper”, and are “concerned with the inferior part of their souls.” He insinuates that as they create they are not in their “right state of mind” perhaps their actions are derived good, evil or from other irrational forces, however “they are a manufacture of images and far removed from the truth”.
Ironically in Philosophies of Art and Beauty we see a dialogue between Socrates and Ion (an actor) which Plato uses to explain the source of artistic creativity. “God takes away the minds of poets and uses them as his ministers.”(55) The dialogue confirms that he believes artists are not in their right state of mind when creating, but does so in a pleasant way. He states that they are possessed by the power of the music, beauty of the art, and emotion. In the scene the poet is totally under the influence of the muses’ inspiration. The power of God inspires the artists, which further inspires the spectators around them, and this is how “God sways the souls of men in any direction which he pleases, and makes one man hang down from another.” (56) From the second reading it appears that these wise men took into consideration, the beauty and power of these “imitations” and artists found a place within the city state.

Next, Read your "Schematic Structure of the Artist's Biography" and your biography of Giotto by Vasari handouts. Look for aspects of Giotto's bio that correspond to the "Schematic Structure" and say why you think these could be seen as necessary parts of an artist's biography. What kind of person is Giotto in this narrative? What does his personality have to do with being an artist?

Vasari description of Giotto seems to follow the “Schematic Structure of the Artist’s Biography” almost perfectly with the exception of the details about his death and the fate of his body. Vasari begins by explaining the artist’s circumstances upon his birth. Giotto was born in Florence to a simple peasant and he was raised accordingly. Following the schematic structure under the motif of “youth” he showed “signs of promise at an early age” and “were discovered by a recognized artist” of his time, Cimabue, while tending to his father’s sheep. Cimabue noticed him drawing a sheep from life on a rock and from there his abilities were further recognized by Cimabue and he soon surpassed his teacher’s ability. Giotto was regarded as a “virtuoso” (Schematic Structure) and revived the true art of painting from life. In his maturity he was awarded major commissions including works for the people and king, however Giotto wasn’t floored by these great honors and maintained a semi sarcastic and witty attitude towards his patrons all his life. The biography seems to be a semi personal one, written in a less dramatic way then I was originally expecting. His personality is what is highlighted by this biography, which we see is very strong from the instance with the fly on Cimabue’s painting (used amazing skill to be play a prank... he’s so good; can’t get mad), as well as in the story about the coat of arms. And I believe that the way Vasari goes into greater detail about the matter of fact way he conducted himself then his major works is a key to understanding that the work doesn’t define the artist, the artist defines the work.