Plato, Giotto and Schematic Structure

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

In the article “The Republic: Book X” Socrates makes some interesting comments on art and how it was seen in 360 B.C.E. Socrates sees art as something that is not necessary in his society because it is basically a third party in the lineage, from God who passes down the idea to man, who makes/invents the object that helps society, which gets passed down to painters whereby painters are just painting the object and the artwork doesn’t provide any value in society, it is just there to look at. I also found it interesting that Socrates kind of compares artists to God because artists are ‘creators’ of beauty and can also change reality, by changing compositions in paintings creating ‘illusions’.
He then goes on to say that an artist is just an imitator and serves no rational purpose in society, they are in the lower echelons of society because they are not really doing or inventing anything that will lead to progress or ease society in any way. If only Socrates knew how artwork and artists would affect the world in today’s society, they contribute to economic wealth because art is scene as a luxury good and artwork confronts issues in today’s societies. Artwork and artists are also considered a very meaningful and influential professions, much like Socrates teachings would have been seen back in his day, which I think is quite ironic.

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?

The link between the Schematic Structure of the Artist’s Biography seems to have a strong tie to most famous artist’s biographies. We must however realize that most artists do not have biographies and much like artwork, writing can create the “illusion” of the stereotypical themes in artists’ lives. From an early age Giotto showed “an extraordinary vivacity and quickness of mind” and was “constantly driven by his natural inclination to draw.” This can be connected with the schematic structure reading because Giotto showed signs of early promise, he was then “discovered” by Cimabue who then took him to Florence. Then, just as the Schematic Structure article predicts, Giotto soon surpasses his teacher and finds the true art in painting and his early works are described in the chapel of the Podesta’s Palace at Florence. Giotto again passes all other painters of his time when he makes a complete circle without using a compass.
In Maturity, descriptions of some of his major commissions are given, such as the Pope commissioning him to paint in St. Peter’s, Robert (King of Naples) invites Giotto to the court to paint many great works.
Giotto left behind many important pieces that contribute to art history, he will be remembered as a great painter through and for his many influential artworks. This also follows schematic structure, providing the fate of artworks.
The death and fate of body is the only part of Giotto’s life that doesn’t seem to follow the Schematic structure. But this is understandable because so many other components of the artist’s life fit the Schematic Structure.