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The Hermit Zosimus Giving a Cloak to Magdalene
new19/GIOTTO di Bondone-568252.jpg
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The_Hermit_Zosimus_Giving_a_Cloak_to_Magdalene
1320s Fresco Magdalene Chapel
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Joachim-s Sacrificial Offering
new19/GIOTTO di Bondone-899987.jpg
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Joachim-s_Sacrificial_Offering
1304-06 Fresco, 200 x 185 cm
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Marriage of the Virgin
new19/GIOTTO di Bondone-899696.jpg
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Marriage_of_the_Virgin
1304-06 Fresco, 200 x 185 cm
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No. 13 God Sends Gabriel to the Virgin
new19/GIOTTO di Bondone-636346.jpg
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No._13_God_Sends_Gabriel_to_the_Virgin
1306 Fresco, 230 x 690 cm
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The Angel Gabriel Sent by God
new19/GIOTTO di Bondone-344862.jpg
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The_Angel_Gabriel_Sent_by_God
1306 Fresco, 150 x 195 cm
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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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