While commenting Giotto's art, Carrà enhances qualities as "freshness", "spontaneity", and a "rough plastic grace". He points out the differences between his position and those of other critics or commentators, such as the adherents of "certain pseudo primitivisms" or of "the theory derived from XVI century's Platonism"; Ruskin; Marcel Raymond; Mason Perkins. He states that, in order to apprehend the "humanity" of Giotto's art, "instead of any aesthetic theory", a "pictorial sensibility" would be necessary. Finally, Carrà examines the decoration of the Scrovegni chapel (Padova, 1305), "where Giotto's genius achieves its maximum splendor".
Italian art; XIV century; Giotto; Scrovegni chapel
