早期作品

乔瓦尼·迪·保罗最早是于1417年记录的锡耶纳工作多明尼加秩序作为微雕（手稿照明）。大多数乔瓦尼的佣金来自当地寺院的社区，因为有很多他早期的作品都是这样的教堂祭坛这是显而易见的。例如，圣母和圣婴与圣徒圣贝纳迪诺，安东尼艾博特，弗朗西斯和萨宾娜和哀叹在死的基督（1462-3），“方形的面板喷涂”祭坛委托庇护二世（高贵锡耶纳皮科洛米尼家族），他最近完成的大教堂。 

作品和影响

乔瓦尼·迪·保罗是由许多伟大的艺术家的影响Trecento和十五世纪，意大利。据认为，他可能已经拥有的其他艺术家的作品的典范本书，他可以翻阅，并使用将适合他的画。其中的几个包括以下内容：詹蒂莱大法布里亚诺的两名佛罗伦萨的祭坛，安布罗洛伦泽蒂的在寺庙介绍，并通过洗礼浮雕多纳泰罗。然后他将能够改变，修改，并结合这些艺术家“工作到自己的渲染。在他的整个职业生涯中可以看到这款机型本书是如何利用，因为他多次使用的某些人物，”他的孤立的细节，一个单一的数字，或从另一个图像复制组表示，他是自然吸引到他的同胞艺术家“的发明。但是很多它会在今天复制放在眼里，在Trecento和十五世纪锡耶纳，文化价值，可以操纵他人的工作，并使其自己作为创造性的艺术家乔万尼没有。

乔瓦尼·迪·保罗是在他的时间，它可以在许多他的画中可以看出，许多艺术家的影响。乔瓦尼的拉撒路的筹集是基于杜乔的的同一场景Maestà。“但是，在杜乔的数字是冷静，克制，乔瓦尼·迪·保罗的是健谈和动画。”乔瓦尼是开放的比锡耶纳传统，其他的解决方案当中，“......使他接受源更远的地方为好。” 其中之一就是在那里他画他在阿西西“壁画绘制的图画的场合。他的作品和风格展示从锡耶纳和过渡哥特式风格到文艺复兴时期的。

他的风格也发生在影响国际哥特式的艺术家，如詹蒂莱大法布里亚诺。他是一个举足轻重的艺术家谁已经被邀请马丁五世罗马。在他的途中到罗马，詹蒂莱停在锡耶纳，其中，乔瓦尼迅速吸收外邦的技术。一个技术一个劲是詹蒂莱的迷恋大自然。而不是使用站在圣人，按照惯例，在他的绘画乔瓦尼使用开花植物的小树枝。

乔瓦尼·迪·保罗的朝拜的贤士和詹蒂莱大法布里亚诺的朝拜的贤士是大自然是如何使用的艺术家和如何乔瓦尼能够创造同样使用动物和植物来自外邦，使其自己的一个例子。凡外邦人有能力黑暗和神秘，乔万尼，“......看到性质untarnished和不断良性的。”乔瓦尼·融入自己的艺术的这些作品，“......等待个人被灌输意为“ 一个创造乔瓦尼能够做得很好。

风格

后来在他的生活乔瓦尼成了大大擅长绘画手稿，他照合唱团书的奥古斯丁在Lecceto以及但丁的僧侣神曲。他对但丁的诗创造的灯饰是一些他最有名的，保存最完好作品。他灯饰是一个地区的观众可以看到乔瓦尼·迪·保罗如何区分自己与其他艺人锡耶纳。他可能一直在与法国和佛兰德照明，在乔瓦尼早年谁曾在锡耶纳接触。看来他们北方的影响力可能已经乔瓦尼磨去，因为他的风景画类似于那些由著名书画林堡兄弟 ; 特雷斯财富点钟报。他怀疑主人，Taddeo迪巴托罗，大概教他如何用“韧性画线“，它可以在任何他的作品中可以看到。乔瓦尼·迪·保罗的工作最显着的特点是梦幻般的品质。约翰教皇，轩尼诗解释乔瓦尼·迪·保罗的工作雄辩，”在意大利绘画很少体验更令人兴奋的，而不是遵循乔瓦尼·迪·保罗，因为他掉价，就像爱丽丝，爱丽丝镜中奇遇。如果我们着眼于谦卑的麦当娜（1435）棋盘景观证实以外的世界在前台花园场景（也称为作为该霍图斯conclusus）。这棋盘全景效果经常由Giovanni其能力“，以营造一种空间的抽象，它的吸引力是不是观众的视神经固定，这么多的梦想-的飞行翼使用旅行者。“

但丁的灯饰天堂

被任命于1441年画家的公会校长后，乔瓦尼·迪·保罗是明确的选择，照亮但丁的天堂。对什么是今天被称为“耶茨汤普森但丁”工作，乔瓦尼创建61图像陪白话诗。其他两名身份不明的艺术家们在地狱和炼狱灯饰。乔瓦尼·迪·保罗用他独特的风格，以创建一个充满阳光的世界，比的前两个艺术家轻得多，更新鲜的明显托斯卡纳全景地狱和炼狱。

一个面板喷涂后创建，并通过启发，灯饰的这个周期是创作，并从天堂驱逐在纽约大都会艺术博物馆的收藏雷曼兄弟（1445）。乔瓦尼展示于一体的两个独立的场景创造了一个独特的形象; 神漂浮在宇宙和亚当和夏娃驱逐以上。一种说法是，上帝同时驱逐亚当和夏娃，并将它们放逐到人间。但是为什么然后他的手不直接指向地球？对于这个问题，一个可行的说法是，按照上帝的姿态注视观众的眼睛是导致在一个特定的点生肖圆。展望生肖圆的11:00的位置，因为它是唯一的符号仍然辨认，可以看出双鱼座的象征这是不是在其传统地位。继圈，在12点的位置是布宜诺斯艾利斯，并在1:00的位置是金牛座。传统上在中世纪这些标志代表了春天，更重要的是这一形象，他们所代表的盛宴的季节报喜。老天似乎直接指向盛宴之日起，3月25日提出的一种推理这样的姿态是，它提醒报喜的意义观众，并在“基督降临的目的，以反映-以“修尔”亚当和夏娃在面板的毗连部门制定和赎回的人，这驱逐他们代表的罪恶“。

这一形象的另一个有趣的部分是，地球被五彩环包围。一种说法是，因为在这个时候地心宇宙的观点被广泛接受，乔瓦尼只是按照一个“由天球轨道界陆地世界”这种理论经常被指出的挑战但丁只分配十环，但乔瓦尼描绘了十二人。有学者认为乔瓦尼被引用了一本书叫Sphera，这对于非专业的人做给他们基于希腊宇宙论（更好地了解宇宙的混沌），这将占到界以及它们的颜色乔瓦尼数量。

Early works

Giovanni Di Paul first recorded Siena's work in the Dominican order as a miniature sculpture (manuscript lighting) in 1417. Most of Giovanni's Commission comes from the local temple community, because there are many of his early works are church altars like this, which is obvious. For example, Notre Dame and infant with Saints San Bernardino, Antony Abbott, Francis and Sabina and Christ lamenting the death (1462-3), the "square panel spray" altar commissioned by Pius II (the noble Siena piccolomini family), his recently completed cathedral.

Works and influence

Giovanni Di Paolo was influenced by many great artists in Trecento and 15th century Italy. It is believed that he may already have a model book of works by other artists that he can turn over and use to suit his paintings. Several of them include the following contents: two Florentine altars of gentile Fabriano, Ambro lunzetti's introduction to the temple, and the relief of Donatello through baptism. Then he will be able to change, modify, and combine these artists "to work on his own rendering. Throughout his career, you can see how this model is used in this book, because he has used some characters many times, "his isolated details, a single number, or the invention of another image reproduction group that says he is naturally attracted to his fellow artists.". But a lot of it will be reproduced in today's eyes, in Trecento and Siena in the 15th century, cultural values that can manipulate others' work and make themselves as creative artists without Giovanni.

Giovanni Di Paolo is in his time, and it can be seen in many of his paintings, the influence of many artists. Giovanni's Lazarus were raised based on the same scene of duejo's Maest Cuan. "But in ducho the numbers are calm, restrained, and Giovanni Di Paolo is talkative and animated." Giovanni is more open than Siena's tradition, and among other solutions, "... It's better to get him to go further." One of them was where he painted his paintings in the Assisi fresco. His works and styles range from Sienna and transitional Gothic to Renaissance.

His style also took place among artists who influenced International Gothic, such as Gentile Fabriano. He is a pivotal artist who has been invited to Rome by Martin v. On his way to Rome, Gentile stopped at Siena, where Giovanni quickly absorbed foreign technology. One technology and one strength is Gentile's infatuation with nature. Instead of using the twigs standing on sage, according to tradition, in his painting Giovanni used flowering plants.

The venerable sages of Giovanni Di Paolo and Gentile Fabriano are examples of how nature is used by artists and how Giovanni was able to create the same use of animals and plants from foreign countries to make himself. Where the Gentiles have the power of darkness and mystery, Giovanni, "... To see the nature of untarnished and ever benign." Giovanni integrates these works of his art, "... Waiting for the individual to be indoctrinated to mean" a creative Giovanni can do well.

style

Later in his life Giovanni became very good at painting manuscripts, and he took the choir book of Augustine in lecceto and Dante's monasteries. His lighting of Dante's poems is some of his most famous and well preserved works. His lighting is an area where viewers can see how Giovanni Di Paolo distinguishes himself from other artists like Siena. He may have been in contact with French and Flemish lighting in Giovanni's early years who had been in Siena. It seems that their influence in the North may have been eroded by Giovanni, because his landscape paintings are similar to those by the famous Limburg brothers; Trez fortune o'clock. He suspects that the master, Taddeo di Bartolo, probably taught him how to draw lines with "tenacity," which can be seen in any of his works. The most remarkable feature of Giovanni Di Paul's work is his dreamlike quality. Pope John Hennessy explains Giovanni Di Paolo's work eloquently, "painting in Italy rarely experiences more exciting than following Giovanni Di Paolo, because he falls in price, like Alice in the mirror. If we look at the humble Madonna (1435) chessboard landscape to confirm the outside world in the foreground garden scene (also known as the hotus conclusus). This chessboard panoramic effect is often powered by Giovanni's ability "to create an abstraction of space, and its appeal is not fixed by the spectator's optic nerve, so many dreams - the use of flying wings by travelers.". "

Dante's lighting paradise

After being appointed president of the guild of painters in 1441, Giovanni Di Paul was the clear choice to illuminate Dante's paradise. For what is today known as "Yates Thompson Dante," Giovanni created 61 images to accompany vernacular poetry. Two other unidentified artists are in hell and purgatory lights. Giovanni Di Paul uses his unique style to create a world full of sunshine, which is much lighter than the first two artists, and more fresh than the obvious Tuscan panoramic hell and purgatory.

A panel was created after spraying, and through inspiration, this cycle of lighting was created, and expelled from paradise the collection of Lehman Brothers (1445) at the Metropolitan Museum of art in New York.