around 1330 - before 1391 · Florence, Lombardy and Padua

Iridescent color, monumental space and cosmic order culminate in Giusto de' Menabuoi in the extraordinary baptistery of Padua.

Giusto de' Menabuoi was probably born in Florence in the 1320s or 1330s. The circumstances of his training are not documented, but his early works show a deep knowledge of the second Giottesque generation. He first worked in Lombardy, Milan and its surroundings. The frescoes of Viboldone Abbey, executed around the middle of the 14th century, combine firm volumes, clear narration and dense color. This Lombard passage enriches his language with particular attention to architecture, large groups and decorative effects. Around the middle of the 14th century, combine firm volumes, clear narration and dense color. This Lombard passage enriches his language with particular attention to architecture, large groups and decorative effects. Around the middle of the 14th century, combines firm volumes, clear narration and dense color. This Lombard passage enriches his language with particular attention to architecture, large groups and decorative effects. Around 1370, Giusto settled in Padua, where he obtained the favor of the Carraresi court and received citizenship. The city still preserves Giotto's memory, but Giusto develops a personal solution, parallel to that of Altichiero: his spaces are ample, his colors precious and his compositions tend towards an almost cosmic unity. His masterpiece is the complete decor of the cathedral baptistery, commissioned by Fina Buzzaccarini as a family funeral chapel and built in the 1370s. On the dome, Christ Pantocrator occupies the center of immense concentric circles of angels and saints. The image envelops the visitor; theology, architecture and color merge. The walls tell the story of the Old and New Testaments in a dense succession where perspectives, interiors and gestures guide the reading. The Massacre of the Innocents shows its ability to order a violent crowd without losing the force of each episode. His Madonnas retain a majestic frontality, while Saint Ambrose gives the Doctor of the Church a sculptural and scholarly presence. Giusto also worked at the Eremitani and the Saint-Antoine basilica. Died before May 1391, he helped make Padua one of the great laboratories of European painting at the end of the 14th century. Died before May 1391, he helped to make Padua one of the great laboratories of European painting at the end of the 14th century. Died before May 1391, he helped to make Padua one of the great laboratories of European painting at the end of the 14th century. Died before May 1391, he helped to make Padua one of the great laboratories of European painting at the end of the 14th century. Died before May 1391, he helped to make Padua one of the great laboratories of European painting at the end of the 14th century. Died before May 1391, he helped to make Padua one of the great laboratories of European

Giusto de' Menabuoi transforms the building into a total image: color, story and architecture revolve around a sacred order which physically envelops the viewer.