Search results
Results from the WOW.Com Content Network
Giotto di Bondone (Italian: [ˈdʒɔtto di bonˈdoːne]; c. 1267 [a] – January 8, 1337), [2] [3] known mononymously as Giotto [b], was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic and Proto-Renaissance period. [7]
Giotto di Bordone — known mononymously as Giotto, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic/Proto-Renaissance period. He worked during the Gothic/Proto-Renaissance period.
Giotto's Crucifix at Santa Maria Novella is a cross painted in tempera and gold on wood panel (578 x 406 cm) by Giotto di Bondone around 1290-1295. The crucifix is preserved in the center of the nave of Florence's Santa Maria Novella basilica. It is one of the earliest known works by the artist, then in his early twenties.
The Trecento is considered to be the beginning of the Italian Renaissance or at least the Proto-Renaissance in art history. Painters of the Trecento included Giotto di Bondone, as well as painters of the Sienese School, which became the most important in Italy during the century, including Duccio di Buoninsegna, Simone Martini, Lippo Memmi, Ambrogio Lorenzetti and his brother Pietro.
This page was last edited on 9 September 2023, at 18:20 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
Giotto di Bondone, Legend of St Joachim, Meeting at the Golden Gate, 1305, in the Scrovegni Chapel, is an early Western depiction of the scene.. Joachim and Anne Meeting at the Golden Gate is a narrative of the parents of the Virgin Mary, Joachim and Anne meeting at the Golden Gate of Jerusalem, upon learning that she will bear a child.
Giotto did away with many aspects of Byzantine art that would flatten the painting. Within Cimabue's Santa Trinita Maestà , there is the use of gold tracing to delineate the folds of the fabric. In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.
Even today critics are uncertain about the work's attribution, although it has unambiguously been attributed to Giotto on major occasions such as the 2013 Giotto exhibition in the Louvre. [5] In any case, the work is dated to the late phase of Giotto's career, as demonstrated by the voluminous drapery, as found in both the Cappella Peruzzi [ it ...