Ojos de Giotto

Pablo Maurette

doi:10.22201/fesa.figuras.2021.3.1.174

Authors

Pablo Maurette Florida State University (US) https://orcid.org/0000-0002-5895-9316

DOI:

https://doi.org/10.22201/fesa.figuras.2021.3.1.174

Keywords:

Dante-Giotto, Evidence, Perspicuity, Gaze, Space, Color, Paint, Poetry

Abstract

One of the most curious excerpts of The Divine Comedy comes in the sixteenth canto of the Inferno when Dante addresses the reader and swears on the pages of his own work that what he is about to narrate is true. The creation of evidence through appeals to the reader is something usual in Dante, and something similar happens with one of his most remarkable contemporaries, the painter Giotto di Bondone. In several of the frescoes that have been preserved by his hand, the artist depicts a space of transcendent evidence through odd games of glances between the characters, but also calling upon the participation of the observer of the work and of his own eyes. Both Dante and Giotto, each in their own way, convey through their work a concern that will be the hallmark of modernity: the need to produce evidence.

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Author Biography

Pablo Maurette, Florida State University

English and Comparative Literature professor at Florida State University. His specialty is comparative literature, and he is particularly concerned with literature, the history of medicine and the history of Renaissance art. He has published articles in journals in Argentina, Colombia, Mexico, Italia, England, and the United States. He also published three books of essays: El sentido olvidado: ensayos sobre el tacto (2015) (published in English in 2018), La carne viva (2018) and Por qué nos creemos los cuentos: cómo se construye evidencia en la ficción (2021);as well as a novel, La migración (2020) (traducción al italiano, 2022). He is also a film screenwriter and his film Quizás Hoy (dir. Sergio Corach, 2016) competed in the 2017 edition of the Buenos Aires Independent Film Festival (BAFICI). In 2018, Maurette launched the #Dante2018 initiative, a collective reading of The Divine Comedy that became a viral phenomenon and added readers of throughout the Spanish-speaking world. Between 2013 and 2017, he was a literature professor at the Chicago University. Between 2018 and 2019 he was a grant holder of Harvard University at the Center for Italian Renaissance Studies at Villa I Tatti (Florence, Italy).

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