Reviewed by: Painting as a Modern Art in Early Renaissance Italy by Robert Brennan Esther Theiler Brennan, Robert, Painting as a Modern Art in Early Renaissance Italy (Renovatio Artium, 3), Turnhout, Brepols, 2019; hardback; pp. 366; 11 b/w, 115 colour illustrations, 1 b/w table; R.R.P. €125.00; ISBN 9781912554003. This is a fabulous read that, while not exhausting its overarching theme—what constitutes modernity in painting in the early Renaissance—certainly exhausts its chosen textual examples through minute, focused analysis and multiple tangential excursions. The book comprises an essay into a concept of modernity that acknowledges the relativity and complexity of the term, its evanescent nature. Robert Brennan structures his argument around statements from fourteenth-century writers Cennino Cennini and Franco Sacchetti, and Michele Savonarola of the fifteenth century. The approach is primarily textual and philological. Brennan retrieves the cultural context in which these views were current and examines their reception. Giorgio Vasari's description of Giotto in his Lives of the Artists provides the hinge—that 'the modern' was revived by Giotto, who 'banished completely that rude Greek manner' (p. 6). In Chapter 1, Cennini's comment from his Libro dell'arte that Giotto 'changed the art of painting from Greek into Latin, and made it modern, and had the art more complete that anyone since', is examined (p. 17). Brennan analyses each of these phrases—what comprises 'the art of painting', what this progress 'from Greek into Latin' entails, what was Cennini's concept of modernization, and what 'complete' means. The author draws on multiple sources to illuminate this change and concludes that it is the scientific basis on which Giotto placed his art that 'made it modern'. Chapter 2 draws on Sacchetti's Trecentonovelle of the 1390s. During a discussion among Florentine artists about the decay of painting, the question is asked 'Which master of painting was the greatest of all, aside from Giotto?' (p. 93). The sculptor Alberto contends that the greatest artists are the ladies of Florence, whose application of cosmetics 'could make white out of black' or make a pale figure resemble a rose (p. 9). The ambiguity in the chapter is that this 'retouching' of a God-given figure, here considered frivolous, is made to also comment on contemporary painting. After Giotto, who brought 'the art into conformity with nature' (p. 102), advancement was meant to be towards an art that enables the practitioner to 'restore things where nature is deficient'. This leads to a discussion of the emulation of nature, the concept of beauty, and the effects of fashion. Changes are driven by ideas of beauty, for instance replacing the 'yellow' skin of Byzantine figures with a more attractive pink and white, or incorporating contemporary modes of dress (p. 162). When the author moves into visual analysis there are some beautifully navigated passages, for instance on the representation of head coverings (pp. 133–47). Sacchetti's ironic and implicitly critical comment on how far fashion and cosmetics, both in people and paintings, takes art from its foundations is not entirely resolved, as reflected in the final [End Page 154] sentence of the chapter, suggesting that Sacchetti could only 'faintly recognize the power dynamics' driving change (p. 180). In the third chapter, the author jumps to the 1440s and the physician Michele Savonarola, who, writing about the 'ideal canon of human proportion', laments the failure of painters to adhere to this classical ideal, relying too much on their imaginative perceptions (p. 183). This included Giotto, who, nevertheless, 'first modernized ancient and mosaic figures' (p. 181). The rational application of proportion, light (perspective), and colour theory produces beauty. A relative version of modernity is tucked into the discourse—the modern apprehended as 'of the now', 'ephemeral', prone to decay and dissolution (p. 215). Visual analyses offer welcome demonstrations of changes in facial schemas, such as the leap from the stylized 'V' between eyebrows, and oblong eye pouches, to more realistic representations. This movement is attributed to classicizing and rationalizing impulses to correct defects in the prototype, remaking the icon in the guise of reality and producing a version of beauty that was more appealing to a contemporary audience. It is...
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