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Updated: June 14, 2025
But with all their faults, these grand, formal, significant groups or rather not groups, for there was as yet no attempt either at grouping or variety of action, for that would have been considered irreverent but these rows of figures, were the models of the early Italian painters and mosaic-workers in their large architectural mosaics and altar-pieces set up in the churches during the revival of Art, from the period of Cimabue and Andrea Tafi down to the latter half of the thirteenth century: all partook of this lifeless, motionless character, and were, at the same time, touched with the same solemn religious feeling.
On the other was a small but ever-increasing number of individuals who, like Cimabue, began to think things out for themselves, but, unlike him, did not succeed in effecting a popular triumph without if at all first raising both the painters and the public to a pitch of fury.
He was the son of a shepherd named Bondone, and while watching his father's flocks in the field, he showed a natural genius for art by constantly delineating the objects around him. A sheep which he had drawn upon a flat stone, after nature, attracted the attention of Cimabue, who persuaded his father, Bondone, to allow him to go to Florence, confident that he would be an ornament to the art.
These artists, among other works, began to paint the chapel of the Gondi in Santa Maria Novella, and Cimabue, often escaping from the school, and having already made a commencement of the art he was so fond of, would stand watching these masters at their work.
The fame of Cimabue rests, and justly, on a similar charity. He gave the populace of his day something to look at; and satisfied their curiosity with science of something they had long desired to know.
The boy's father consented, and henceforth the little Giotto lived with Cimabue, who instructed him in painting, and put him to study letters under Brunetto Latini, who was also the teacher of the great poet, Dante.
Some writers assert that the works of Cimabue possessed little merit when compared with those of later times; and that the extraordinary applause which he received flowed from an age ignorant of art.
At length they were free, and went on up the hill to the city. They stopped at a little hotel whose balcony commanded a magnificent view of the country, lingered a while, lunched, and then went out to visit the great double church of San Francesco, beneath which the saint is buried, and where are notable frescoes by Cimabue and Giotto.
By and by we sat down in the nave of the church till the ceremony should be concluded; and then my wife left me to go in quest of yet another chapel, where either Cimabue or Giotto, or both, have left some of their now ghastly decorations.
Vasari describes for us very delightfully the triumph of this picture, when, so great was the admiration of the people for it that "it was carried in solemn procession, with the sound of trumpets and other festal demonstrations, from the house of Cimabue to the church, he himself being highly rewarded and honoured for it"; while, as he goes on to tell us, when Cimabue was painting it, in a garden as it happened near the gate of S. Pietro, King Charles of Sicily, brother of St.
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