CENNINI, CENNINO. — Painter and writer, b. at Colle Val d'Elsa, d. perhaps in Padua after 1398. In Padua, C. worked for the Carraresi, as documents from 1398 attest, and married a woman from Cittadella.
His name is linked to the Libro dell'arte, written in Florence around 1390; the oldest copy dates from 1437. C. claims an artistic descent from Giotto, since his teacher was Agnolo Gaddi, son of Taddeo, a pupil of Giotto. The Libro dell'arte is a book of recipes, but it aims to teach one to become a painter and defines concepts, including theoretical ones, relating to painting. “This is an art called painting, which requires one to have imagination... to find things not seen (placing oneself under the shadow of natural things)... so as to demonstrate what is not, as though it were.” The artist must therefore create through imagination, but must do so in such a way that the imagination appears to be reality. The Libro deals in various short chapters with the techniques of drawing, colors, fresco painting, oil painting, and tempera painting; it teaches how to grind colors, prepare them, and apply gold to a panel; it touches on the doctrine of proportions. Other passages echo the Florentine late Gothic taste with regard to style, not craft: for example, in connection with line and relief, color, and the manner of portraying faces, buildings, and landscapes. Among other things, the beginner is advised to follow a master if he wishes to achieve a personal style; he is warned against the dangers of eclecticism; he is urged to draw inspiration from
nature. Finally, suggestions are given for works intended for decorative purposes, such as chests, textiles, metal objects, etc.
The Libro dell'arte differs from medieval writings of its kind not only because it is the first in the vernacular, but also because it reveals a new awareness of art: through it, its author understands that Giotto “transformed the art of painting from Greek into Latin and brought it up to date.” C. also inaugurates, in relation to art, a terminology that would be used in subsequent centuries: expressions such as “drawing, relief, blending, nude, manner,” etc., are due to him and already have their present-day meanings.