GIOTTO di Bondone

Italian Early Renaissance Painter, 1267-1337 Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.
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GIOTTO di Bondone Detail of Birth of Christ oil


Detail of Birth of Christ
Painting ID::  48624 		Detail of Birth of Christ
mk191 the face of the Virgin Mary
mk191 the_face_of_the_Virgin_Mary
   
   
     
GIOTTO di Bondone jesus infor oversteprasten kajafas oil


jesus infor oversteprasten kajafas
Painting ID::  56590 		jesus infor oversteprasten kajafas
mk248 sodra vaggen, arenakapellet, padua giotto foruandlar taket med bjalkarna i kajafas sal till ett kistlock, det finns ingen mojligbet att fly. det finns sa mycket rorelse i bilden att det tar ett tag innan man ser fesus sorgsna blick mot den balvt dolde petrus, som just fornekat att ban var en av bans larjungar.
   
   
     
GIOTTO di Bondone lasarus ateruppstar fran de doda oil


lasarus ateruppstar fran de doda
Painting ID::  56591 		lasarus ateruppstar fran de doda
mk248 norra vaggen, arenakapellet, padua lasarus,bror till marta ocb maria, bar varit dod i fyra dagar. hans systrar bar blokt nog tackt over ocb munnar nar graven oppnas ocb fesus mirakulost nog ateruppva cker bonom till livet. giotto bar placerat fesus ocb lasarus sa att de aterspeglar varandra ocb budskapet ar att fesus inom kort ocksa ska do ocb ateruppsta fran de doda.
   
   
     
GIOTTO di Bondone Assisi Saint - Francois accept the stigma oil


Assisi Saint - Francois accept the stigma
Painting ID::  57224 		Assisi Saint - Francois accept the stigma
mk255 about for years in 1295-1300 plastic painting dyes, gold background, Yang wooden 3.13 meters high 1.63 meters wide Louvre
   
   
     
GIOTTO di Bondone The Stefaneschi Triptych: St Peter Enthroned oil


The Stefaneschi Triptych: St Peter Enthroned
Painting ID::  62954 		The Stefaneschi Triptych: St Peter Enthroned
1330 Tempera on panel Pinacoteca, Vatican The picture shows the middle panel on the side showing St Peter. Peter sits, surrounded by angels and saints, on a simply constructed throne inlaid with Cosmati work. His right hand is raised in blessing, and in the other he holds the keys of his office. Before him, kneeling on the luxurious marble floor, laid out in perspective, are the hermit-saint Peter of Morrone to his right, and the donor Cardinal Stefaneschi, offering him the altar, to his left. Artist: GIOTTO di Bondone Painting Title: The Stefaneschi Triptych: St Peter Enthroned , 1301-1350 Painting Style: Italian , , religious
   
   
     
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     GIOTTO di Bondone
     Italian Early Renaissance Painter, 1267-1337 Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.

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