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1054:. The Ognissanti altarpiece is the only panel painting by Giotto that has been universally accepted by scholars, despite the fact that it is undocumented. It was painted for the church of the Ognissanti (all saints) in Florence, which was built by an obscure religious order, known as the Humiliati. It is a large painting (325 x 204 cm), and scholars are divided on whether it was made for the main altar of the church, where it would have been viewed primarily by the brothers of the order, or for the choir screen, where it would have been more easily seen by a lay audience.
515:
851:. Unlike those by Cimabue and Duccio, Giotto's figures are not stylized or elongated and do not follow Byzantine models. They are solidly three-dimensional, have faces and gestures that are based on close observation, and are clothed, not in swirling formalized drapery, but in garments that hang naturally and have form and weight. He also took bold steps in foreshortening and having characters face inwards, with their backs towards the observer, creating the illusion of space. The figures occupy compressed settings with naturalistic elements, often using forced
459:. Vasari recounts a number of such stories about Giotto's skill as a young artist. He tells of one occasion when Cimabue was absent from the workshop, and Giotto painted a remarkably lifelike fly on a face in a painting of Cimabue. When Cimabue returned, he tried several times to brush the fly off. Many scholars today are uncertain about Giotto's training and consider Vasari's account that he was Cimabue's pupil a legend; they cite earlier sources that suggest that Giotto was not Cimabue's pupil. The story about the fly is also suspect because it parallels
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1186:. The technique, quicker but less durable than a true fresco, has left the work in a seriously-deteriorated condition. Scholars who date the cycle earlier in Giotto's career see the growing interest in architectural expansion that it displays as close to the developments of the giottesque frescoes in the Lower Church at Assisi, but the Bardi frescoes have a new softness of colour that indicates the artist going in a different direction, probably under the influence of Sienese art so it must be later.
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870:
1232:, following a similar iconography to the frescoes in the Upper Church at Assisi, dating from 20 to 30 years earlier. A comparison shows the greater attention given by Giotto to expression in the human figures and the simpler, better-integrated architectural forms. Giotto represents only seven scenes from the saint's life, and the narrative is arranged somewhat unusually. The story starts on the upper left wall with
1169:). As with almost everything in Giotto's career, the dates of the fresco decorations that survive in Santa Croce are disputed. The Bardi Chapel, immediately to the right of the main chapel of the church, was painted in true fresco, and to some scholars, the simplicity of its settings seems relatively close to those of Padua, but the Peruzzi Chapel's more complex settings suggest a later date.
643:. There are many differences between it and the Arena Chapel frescoes that are difficult to account for within the stylistic development of an individual artist. It is now generally accepted that four different hands are identifiable in the Assisi St. Francis frescoes and that they came from Rome. If this is the case, Giotto's frescoes at Padua owe much to the naturalism of the painters.
1288:
798:. He is depicted mainly in profile, and his eyes point continuously to the right, perhaps to guide the viewer onwards in the episodes. The kiss of Judas near the end of the sequence signals the close of this left-to-right procession. Below the narrative scenes in colour, Giotto also painted allegories of seven Virtues and their counterparts in monochrome grey (
541:'s troops, who stabled horses in the Upper Church of the Basilica, so scholars have debated the attribution to Giotto. In the absence of evidence to the contrary, it was convenient to attribute every fresco in the Upper Church not obviously by Cimabue to the better-known Giotto, including those frescoes now attributed to the
1217:. Because of the deteriorated condition of the frescoes, it is difficult to discuss Giotto's style in the chapel, but the frescoes show signs of his typical interest in controlled naturalism and psychological penetration. The Peruzzi Chapel was especially renowned during Renaissance times. Giotto's compositions influenced
794:, the parents of the Virgin, and continuing with her early life. The life of Jesus occupies two registers. The top south tier deals with the lives of Mary's parents, the top north with her early life and the entire middle tier with the early life and miracles of Christ. The bottom tier on both sides is concerned with the
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made a fool of. The messenger brought other artists' drawings back to the Pope in addition to Giotto's. When the messenger related how he had made the circle without moving his arm and without the aid of compasses the Pope and his courtiers were amazed at how Giotto's skill greatly surpassed all of his contemporaries.
1268:, is located outside the chapel, above the entrance arch. The arrangement encourages viewers to link scenes together: to pair frescoes across the chapel space or relate triads of frescoes along each wall. The linkings suggest meaningful symbolic relationships between different events in St. Francis's life.
638:
in 1912, many scholars have expressed doubt that Giotto was the author of the Upper Church frescoes. Without documentation, arguments on the attribution have relied upon connoisseurship, a notoriously unreliable "science", but technical examinations and comparisons of the workshop painting processes
1026:
The cardinal also commissioned Giotto to decorate the apse of St. Peter's
Basilica with a cycle of frescoes that were destroyed during the 16th-century renovation. According to Vasari, Giotto remained in Rome for six years, subsequently receiving numerous commissions in Italy, and in the Papal seat
478:
Around 1290 Giotto married
Ricevuta di Lapo del Pela (known as 'Ciuta'), the daughter of Lapo del Pela of Florence. The marriage produced four daughters and four sons, one of whom, Francesco, became a painter. Giotto worked in Rome in 1297–1300, but few traces of his presence there remain today. By
424:
has borne a plaque claiming the honor of his birthplace, an assertion that is commercially publicized. However, recent research has presented documentary evidence that he was born in
Florence, the son of a blacksmith. His father's name was Bondone. Most authors accept that Giotto was his real name,
855:
devices so that they resemble stage sets. This similarity is increased by Giotto's careful arrangement of the figures in such a way that the viewer appears to have a particular place and even an involvement in many of the scenes. That can be seen most markedly in the arrangement of the figures in
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sent a messenger to Giotto, asking him to send a drawing to demonstrate his skill, Giotto drew a red circle so perfect that it seemed as though it was drawn using a pair of compasses and instructed the messenger to send it to the Pope. The messenger departed ill-pleased, believing that he had been
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visited Giotto while he was painting the
Scrovegni Chapel and, seeing the artist's children underfoot asked how a man who painted such beautiful pictures could have such plain children. Giotto, who according to Vasari was always a wit, replied, "I make my pictures by day, and my babies by night."
1443:
Forensic reconstruction of the skeleton at Santa
Reperata showed a short man with a very large head, a large hooked nose and one eye more prominent than the other. The bones of the neck indicated that the man spent a lot of time with his head tilted backwards. The front teeth were worn in a way
1389:; Giotto instead painted the shield "armed to the teeth", complete with a sword, lance, dagger, and suit of armor. He told the man to "Go into the world a little, before you talk of arms as if you were the Duke of Bavaria", and in response was sued. Giotto countersued and won two florins. In
882:
Giotto's depiction of the human face and emotion sets his work apart from that of his contemporaries. When the disgraced
Joachim returns sadly to the hillside, the two young shepherds look sideways at each other. The soldier who drags a baby from its screaming mother in the
387:
are among the few certainties about his life. Almost every other aspect of it is subject to controversy: his birth date, his birthplace, his appearance, his apprenticeship, the order in which he created his works, whether he painted the famous frescoes in the Upper
1473:, the town crier of Florence, wrote a poem in Giotto's honour in which it is stated that he was 70 at the time of his death. However, the word "seventy" fits into the rhyme of the poem better than any longer and more complex age so it is possible that Pucci used
835:) to preserve its brilliance. That is why it has disintegrated faster than the other colours, which were painted on wet plaster and have bonded with the wall. An example of the decay can clearly be seen on the robe of the Virgin, in the fresco of the
1416:. The apparently-contradictory reports are explained by the fact that the remains of Santa Reparata are directly beneath the Cathedral and the church continued in use while the construction of the cathedral proceeded in the early 14th century.
1018:
of Saints Peter and Paul. It is one of the few works by Giotto for which firm evidence of a commission exists. However, the style seems unlikely for either Giotto or his normal
Florentine assistants so he may have had his design executed by an
1444:
consistent with frequently holding a brush between the teeth. The man was about 70 at the time of death. While the
Italian researchers were convinced that the body belonged to Giotto and it was reburied with honour near the grave of
1448:, others have been highly sceptical. Franklin Toker, a professor of art history at the University of Pittsburgh, who was present at the original excavation in 1970, says that they are probably "the bones of some fat butcher".
1335:, which are usually attributed to his pupils. In 1332, King Robert named him "first court painter", with a yearly pension. Also in this time period, according to Vasari, Giotto composed a series on the Bible; scenes from the
1419:
During an excavation in the 1970s, bones were discovered beneath the paving of Santa
Reparata at a spot close to the location given by Vasari but unmarked on either level. Forensic examination of the bones by anthropologist
446:
discovered Giotto drawing pictures of his sheep on a rock. They were so lifelike that
Cimabue approached Giotto and asked if he could take him on as an apprentice. Cimabue was one of the two most highly renowned painters of
1346:, where he painted a Polyptych for the church of Santa Maria degli Angeli and, according to some sources, a lost decoration for the Chapel in the Cardinal Legate's Castle. In 1334, Giotto was appointed chief architect to
568:
The authorship of a large number of panel paintings ascribed to Giotto by Vasari, among others, is as broadly disputed as the Assisi frescoes. According to Vasari, Giotto's earliest works were for the Dominicans at
670:. According to documents of 1301 and 1304, Giotto by this time possessed large estates in Florence, and it is probable that he was already leading a large workshop and receiving commissions from throughout Italy.
977:
and including the portrait of Bishop Teobaldo Pontano, who commissioned the work. Several assistants are mentioned, including Palerino di Guido. The style demonstrates developments from Giotto's work at Padua.
981:
In 1311, Giotto returned to Florence. A document from 1313 about his furniture there shows that he had spent a period in Rome sometime beforehand. It is now thought that he produced the design for the famous
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does so with his head hunched into his shoulders and a look of shame on his face. The people on the road to Egypt gossip about Mary and Joseph as they go. Of Giotto's realism, the 19th-century English critic
1411:
According to Vasari, Giotto was buried in the Cathedral of Florence, on the left of the entrance and with the spot marked by a white marble plaque. According to other sources, he was buried in the Church of
1529:"Giotto's date of birth differs widely in the sources, but modern art historians consider 1267 to be the most plausible, although the years up to 1275 cannot be entirely discounted." Wolf, Norbert (2006).
479:
1301, Giotto owned a house in Florence, and when he was not traveling, he would return there and live in comfort with his family. By the early 1300s, he had multiple painting commissions in Florence. The
2760:
and Pia Theis with Andreas Zajic and Michaela Zöschg; Vol. 2: Works, by Michael Viktor Schwarz; Vol. 3: Survival (Works and Practices up to Michelangelo), by Michael Viktor Schwarz, Böhlau, Vienna 2023.
1436:. That supports a tradition at the Church of Santa Croce that a dwarf who appears in one of the frescoes is a self-portrait of Giotto. On the other hand, a man wearing a white hat who appears in the
345:, wrote that Giotto was "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature" and of his publicly recognized "talent and excellence".
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style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years".
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as well as the Bible. The frescoes are more than mere illustrations of familiar texts, however, and scholars have found numerous sources for Giotto's interpretations of sacred stories.
537:
in the Upper Church has been one of the most disputed in art history. The documents of the Franciscan Friars that relate to artistic commissions during this period were destroyed by
627:: "What kind of art made is testified to by works done by him in the Franciscan churches at Assisi, Rimini, Padua..." Since the idea was put forward by the German art historian
438:
773:, a friend of Giotto's, says of him that "there was no uglier man in the city of Florence" and indicates that his children were also plain in appearance. There is a story that
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oppose two specific types of government: peace leading to a festival of Love and tyranny resulting in wartime rape. Between the narrative scenes are quatrefoil paintings of
1899:
In 1312, the will of Ricuccio Pucci leaves funds to keep a lamp burning before the crucifix "by the illustrious painter Giotto". Ghiberti also cites it as a work by Giotto.
1432:, both commonly found in paint, which the bones had absorbed). The bones were those of a very short man, little over four feet tall, who may have suffered from a form of
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581:, which is about 5 metres (16 feet) high. It has been dated to about 1290 and is thought to be contemporary with the Assisi frescoes. Earlier attributed works are the
1424:
and a team of experts in 2000 brought to light some evidence that seemed to confirm that they were those of a painter (particularly the range of chemicals, including
48:
1403:(XI, 94–96): "Cimabue believed that he held the field/In painting, and now Giotto has the cry,/ So the fame of the former is obscure." Giotto died in January 1337.
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1755:
Sarel Eimerl, see below, cites Colbzs le di Romagnano. However, the spelling is perhaps wrong, and the location referred to may be the site of the present
965:
From 1306 from 1311 Giotto was in Assisi, where he painted the frescoes in the transept area of the Lower Church of the Basilica of St. Francis, including
628:
2379:, 39 (1947) 149–154. It has been tied to the Bardi Chapel by Jane C. Long, "The Program of Giotto’s Saint Francis Cycle at Santa Croce in Florence",
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Giotto the Painter. Vol. 1: Life (with a Collection of the Documents and Texts up to Vasari and an Appendix of Sources on the Arena Chapel), by
1997:, New York, 1969, 106–107 and an analysis of the commission by Benjamin G. Kohl, "Giotto and his Lay Patrons", in Anne Derbes and Mark Sandona,
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at Padua is also said to be a portrait of Giotto. The appearance of this man conflicts with the image in Santa Croce, in regards to stature.
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Vasari states that Giotto was a shepherd boy, a merry and intelligent child who was loved by all who knew him. The great Florentine painter
1370:, but no trace of works by him remains in the city. His last known work was with assistants' help: the decoration of Podestà Chapel in the
1319:
where he remained with a group of pupils until 1333. Few of Giotto's Neapolitan works have survived: a fragment of a fresco portraying the
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The cycle is divided into 37 scenes, arranged around the lateral walls in three tiers, starting in the upper register with the story of
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New York and London, 1998, 3, 131–144); Julie F. Codell, "Giotto's Peruzzi Chapel Frescoes: Wealth, Patronage and the Earthly City",
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Tradition says that Giotto was born in a farmhouse, perhaps at Colle di Romagnano or Romignano. Since 1850, a tower house in nearby
3131:
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1938:, New York, 1969 (reissued 1996), 135–155, which argues against Giotto's authorship of the frescoes. In contrast, Luciano Bellosi,
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633:
2212:, ed. Eve Borsook and Fiorella Gioffredi, Oxford, 1994, 5–39; Irene Hueck, "Le opere di Giotto per la chiesa di Ognissanti", in
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examined all of the Assisi frescoes, and found some of the paint contained white lead—also used in Cimabue's badly deteriorated
3136:
3126:
1934:
See, for example, Richard Offner's famous article of 1939, "Giotto, non-Giotto", conveniently collected in James Stubblebine,
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In Florence, where documents from 1314 to 1327 attest to his financial activities, Giotto painted an altarpiece, known as the
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2743:
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The concept of such linkings was first suggested for Padua by Michel Alpatoff, "The Parallelism of Giotto's Padua Frescoes",
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1668:
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1014:. It shows St Peter enthroned with saints on the front, and on the reverse, Christ is enthroned, framed with scenes of the
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565:(c. 1297) includes a motif of the saint holding up the collapsing church, previously included in the Assisi frescoes.
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The fact that Giotto painted the Arena Chapel and that he was chosen by the Commune of Florence in 1334 to design the new
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said, "He painted the Madonna and St. Joseph and the Christ, yes, by all means... but essentially Mamma, Papa and Baby".
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1385:. Sacchetti recounted the likely fictional incident in which a civilian commissioned Giotto to paint a shield with his
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and to the Virgin of Charity. As was common in church decoration of medieval Italy, the west wall is dominated by the
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took over the tower's construction, completed in 1359 and not entirely to Giotto's design. Before 1337, he was in
1307:, was completed. Previously ascribed to Giotto, it is now believed to be mostly a work by assistants, including
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frescoes are painted to look like marble statues that personify Virtues and Vices. The central allegories of
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commissioned the chapel to serve as family worship, burial space and as a backdrop for an annually performed
533:, and it is possible, but not certain, that Giotto went with him. The attribution of the fresco cycle of the
3106:
1129:, but he does not identify which chapels. It is only with Vasari that the four chapels are identified: the
943:
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The Annunciation of John's Birth to his father Zacharias; The Birth and Naming of John; The Feast of Herod
989:
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3101:
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559:(c. 1283). No known works by Giotto contain this medium. However, Giotto's panel painting of the
2011:
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in which the viewer is bidden by the composition to become mocker in one and mourner in the other.
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1955:, Milan, 2002; Zanardi provides an English synopsis of his study in Anne Derbes and Mark Sandona,
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31:
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Giotto e Pietro Cavallini: La questione di Assisi e il cantiere medievale della pittura a fresco
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702:
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and the Virgin Mary, depicting the Annunciation. The scene is incorporated into the cycles of
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together with other 14th-century fresco cycles in different buildings around the city centre.
3055:
2853:(English translation by Frederic Schenck). Harvard University Press, Cambridge (Mass.), 1917.
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946:. Numerous painters from northern Italy were influenced by Giotto's work in Padua, including
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streaks across the sky. Giotto is thought to have been inspired by the 1301 appearance of
8:
1275:
819:
753:
659:
570:
484:
1772:
Michael Viktor Schwarz and Pia Theis, "Giotto's Father: Old Stories and New Documents",
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Giotto worked on other frescoes in Padua, some now lost, such as those that were in the
639:
at Assisi and Padua in 2002 have provided strong evidence that Giotto did not paint the
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1213:) on the right wall. The choice of scenes has been related to both the patrons and the
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993:
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Tintori and Borsook; Laurie Schneider Adams, "The Iconography of the Peruzzi Chapel".
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Around 1305, Giotto executed his most influential work, the interior frescoes of the
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acknowledged the greatness of his living contemporary by the words of a painter in
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52 (1992) 85–133, and William R. Cook, "Giotto and the Figure of St. Francis", in
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Maginnis, Hayden B.J., "In Search of an Artist", in Anne Derbes and Mark Sandona,
1377:
Giotto appears in the writings of many contemporary authors, including Boccaccio,
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2897:
2841:
The Painting of the Life of St. Francis in Assisi, with Notes on the Arena Chapel
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Julian Gardner, "Altars, Altarpieces and Art History: Legislation and Usage", in
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1040:, which is now on display in the Uffizi, where it is exhibited beside Cimabue's
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Much of the blue in the frescoes has been worn away by time. The expense of the
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1433:
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Giotto's O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel
2564:, London, Penguin Books, 1966, 2nd edn 1987 (now Yale History of Art series).
2331:
2037:
Giotto's O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel
829:
blue pigment used required it to be painted on top of the already-dry fresco (
376:. It is regarded as one of the supreme masterpieces of the Early Renaissance.
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2879:
2797:
2786:, Pennsylvania State University Press, University Park, Pennsylvania, 2009.
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869:
815:
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822:, that allegorically correspond to and perhaps foretell the life of Christ.
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2029:
The Usurer's Heart: Giotto, Enrico Scrovegni, and the Arena Chapel in Padua
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1308:
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The Peruzzi Chapel is adjacent to the Bardi Chapel and was largely painted
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721:
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196:
131:
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Long, Jane C. (2011). "11. Parallelism in Giotto's Santa Croce Frescoes".
1617:
1425:
1311:, who later frescoed the chapel. The next year, Giotto was called by King
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Gardner, Julian (1974). "The Stefaneschi Altarpiece: A Reconsideration".
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910:
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730:. On either side of the chancel are complementary paintings of the angel
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2812:
I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni
1908:
Sarel. A. Teresa Hankey, "Riccobaldo of Ferraro and Giotto: An Update",
1867:
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1429:
1400:
1125:, Giotto painted chapels for four different Florentine families in the
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and now lost to the Renaissance church except for some fragments and a
959:
364:, also known as the Arena Chapel, which was completed around 1305. The
160:
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1969:
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He worked during the period described as Gothic or Pre-Renaissance ...
1010:(c. 1320), a double-sided altarpiece for St. Peter's, now in the
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947:
713:
322:
2255:
Le vite de' più eccellenti architetti, pittori, et scultori Italiani
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2191:, Florence, 1992; Julia I. Miller and Laurie Taylor-Mitchell, "The
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1371:
1354:, begun on July 18, 1334. After Giotto's death three years later,
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1031:, but some of the works are now recognized to be by other artists.
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538:
326:
123:
113:
75:
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623:, mentions that Giotto painted at Assisi but does not specify the
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L'affare migliore di Enrico. Giotto e la cappella degli Scrovegni
1343:
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1138:
1028:
997:
731:
448:
443:
1236:
It continues across the chapel to the upper right wall with the
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Giotto, Peruzzi Altarpiece, c.1322, North Carolina Museum of Art
2012:"Padua, its Arena, and the Arena Chapel: a liturgical ensemble"
1993:
See the complaint of the Eremitani monks in James Stubblebine,
1607:
1316:
1078:
1045:
847:
Giotto's style drew on the solid and classicizing sculpture of
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526:
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452:
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Lives of the Most Excellent Painters, Sculptors, and Architects
413:
393:
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349:
described Giotto as making a decisive break from the prevalent
127:
1970:"Padua's fourteenth-century fresco cycles, UNESCO declaration"
1331:
that is painted on the windows of the Santa Barbara Chapel of
467:
painting grapes so lifelike that birds tried to peck at them.
2686:
2602:
Giotto: gli affreschi della Cappella degli Scrovegni a Padova
2199:, ed. Anne Derbes and Mark Sandona, Cambridge, 2004, 157–175.
2033:
Giotto and the Arena Chapel: Art, Architecture and Experience
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774:
694:
647:
456:
361:
282:
84:
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Kérchy, Anna; Liss, Attila; Szönyi, György E., eds. (2012).
1872:
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Giotto's fame as a painter spread. He was called to work in
2818:, Milano 2008; Editoriale Programma, 2015, pp. 1–366,
1942:, Turin, 1985, calls each of Offner's points into question.
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288:
270:
258:
227:
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houses a small portion of a fresco cycle, painted for the
279:
264:
255:
221:
218:
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2387:, ed. A. Derbes and M. Sandona, Cambridge, 2004, 135–156.
1728:, trans. George Bull, Penguin Classics (1965), pp. 15–36.
1189:
The Peruzzi Chapel pairs three frescoes from the life of
341:
period. Giotto's contemporary, the banker and chronicler
53:
Posthumous portrait of Giotto, made between 1490 and 1550
2538:
Le vite de più eccellenti pittori, scultori e architetti
1842:
1840:
1838:
1469:
The year of his birth is calculated from the fact that
1225:, and Michelangelo is also known to have studied them.
2396:
Giotto, Andrew Martindale, and Edi Baccheschi (1966).
2119:
Finished in 1309 and mentioned in a text from 1350 by
1197:) on the left wall with three scenes from the life of
1073:). Tempera on wood, 325 by 204 centimetres (128 by 80
2858:
Giotto di Bondone, 1267–1337: The Renewal of Painting
2776:(I sommi dell'arte italiana), Martello, Milano, 1958.
2423:
2411:
1835:
1531:
Giotto di Bondone, 1267–1337: The Renewal of Painting
297:
236:
1783:
285:
267:
224:
1743:
Art: a history of painting, sculpture, architecture
1244:, across the chapel again to the left wall for the
662:. It influenced the rise of the Riminese school of
276:
261:
215:
2508:
2123:. They had an astrological theme, inspired by the
973:and the Magdalene Chapel, drawing on stories from
3142:14th-century people from the Republic of Florence
2228:Giotto's Ognissanti Crucifix brought back to life
2051:The Iconology of Law and Order (Legal and Cosmic)
1254:Visions of Fra Agostino and the Bishop of Assisi.
3083:
2048:
2697:. Vol. 12 (11th ed.). pp. 34–37.
2586:(I gigli dell'arte; 2) Cantini, Firenze, 1989.
2547:, trans. George Bull, Penguin Classics (1965),
2460:"Critics slam Giotto burial as a grave mistake"
2304:, 1972, 1–104. (Reprinted in Andrew Ladis ed.,
2139:Journal of the Warburg and Courtauld Institutes
2016:Journal of the Warburg and Courtauld Institutes
1910:Journal of the Warburg and Courtauld Institutes
1817:"Giotto's Fly and the Birth of the Renaissance"
425:but may have been an abbreviation of Ambrogio (
2466:. Independent Online. Sapa-AP. 8 January 2001.
2214:La 'Madonna d'Ognissanti' di Giotto restaurata
2189:La 'Madonna d'Ognissanti' di Giotto restaurata
2905:
2479:"Skeleton riddle threatens Giotto's reburial"
1663:. New York: Thames & Hudson. p. 10.
992:in 1310, commissioned by Cardinal Giacomo or
356:Giotto's masterwork is the decoration of the
2324:Parallelism in Giotto's Santa Croce Frescoes
2257:ed. G. Milanesi, Florence, 1878, I, 373–374.
1260:, which chronologically belongs between the
1090:
1000:reconstruction. According to the cardinal's
895:Famous narratives in the series include the
27:Italian painter and architect (c. 1267–1337)
2562:Art and Architecture in Italy, 1250 to 1400
2231:, BBC News, 2010-11-05. Accessed 2010-11-07
1688:The Civilization of the Italian Renaissance
1342:After Naples, Giotto stayed for a while in
529:to paint several large frescoes at the new
2912:
2898:
1890:Maginnis, "In Search of an Artist", 23–28.
1680:
2653:Giotto and Florentine Painting, 1280–1375
2306:Giotto and the World of Early Italian Art
2195:and the Humiliati Order in Florence", in
1814:
1720:
1718:
1716:
1714:
1712:
1710:
1708:
1706:
1704:
1252:, and across once more to the posthumous
658:painted before 1309 and conserved in the
501:. In this period Giotto also painted the
2885:Giotto in Panopticon Virtual Art Gallery
2476:
2127:, a treatise famous in the 14th century.
2031:, University Park, 2008; Laura Jacobus,
1736:
1734:
1286:
1282:
1270:
1171:
1117:Peruzzi and Bardi Chapels at Santa Croce
1112:The Nativity in the Lower Church, Assisi
1107:
1056:
925:
868:
677:
603:
593:, Florence, and the signed panel of the
583:San Giorgio alla Costa Madonna and Child
513:
497:, a mosaic that decorated the facade of
403:
399:
2839:Tintori, Leonetto, and Meiss, Millard,
2136:
1512:
1510:
1508:
1506:
1504:
1502:
1500:
1498:
1496:
1494:
1350:. He designed the bell tower, known as
14:
3084:
2701:Derbes, Anne and Sandona, Mark, eds.,
2681:
2506:
2442:
2440:
2438:
2429:
2417:
1878:
1846:
1789:
1701:
416:, the authorship of which is disputed.
2893:
2753:, Edizioni di Comunità, Milano, 1963.
2738:(Saggi; 899). Einaudi, Torino, 2008.
2584:Giotto: catalogo completo dei dipinti
2400:. New York: Harry N. Abrams. p. 118.
1778:Giottus Pictor. Band 1: Giottos Leben
1740:
1731:
1658:
1652:
1228:The Bardi Chapel depicts the life of
183:
2960:Lamentation (The Mourning of Christ)
2936:Saint Francis Receiving the Stigmata
2705:. Cambridge University Press, 2004.
2670:. New York: George Braziller, 1993.
2655:. New York: Harper & Row, 1976.
2321:
1745:. Harry N. Abrams. pp. 503–506.
1491:
1406:
1165:) and the Tosinghi Spinelli Chapel (
1085:He also painted around the time the
875:Lamentation (The Mourning of Christ)
769:Vasari, drawing on a description by
720:, as the chapel is dedicated to the
519:Saint Francis receiving the Stigmata
2668:Giotto: The Scrovegni Chapel, Padua
2435:
2287:, Milan, 1983, 185–186; L.Bellosi,
2244:, ed. O Morisani, Naples, 1947, 33.
1858:Giotto, and Edi Baccheschi (1969).
1759:, in a hamlet of farmhouses in the
1690:. Toronto: D.C. Heath and Company.
1240:, moves down the right wall to the
1149:, perhaps including a polyptych of
736:The Life of the Blessed Virgin Mary
673:
531:Basilica of Saint Francis of Assisi
24:
2843:, New York University Press, 1962.
2804:, New York University Press, 1960.
2575:
2477:Johnston, Bruce (6 January 2001).
2110:) are most likely from assistants.
1995:Giotto: The Arena Chapel Frescoes
1936:Giotto: The Arena Chapel Frescoes
1815:Dalivalle, Antonia (10 May 2019).
716:, and there is an emphasis on the
25:
3188:
2873:
2511:The World of Giotto: c. 1267–1337
2385:The Cambridge Companion to Giotto
2197:The Cambridge Companion to Giotto
2100:Martyrdom of Franciscans at Ceuta
1999:The Cambridge Companion to Giotto
1957:The Cambridge Companion to Giotto
1803:The Cambridge Companion to Giotto
1776:, 141 (1999), 676–677, and idem,
1234:St. Francis Renounces his Father.
763:Meditations on the Life of Christ
2851:Giotto and Some of His Followers
2398:The Complete Paintings of Giotto
2270:, Florence, 1965, 10; J. White,
1923:Giotto und die Giotto-apokryphen
1862:. New York: H.N. Abrams. p. 83.
1860:The complete paintings of Giotto
1004:, he also at least designed the
988:mosaic for the courtyard of the
481:Archbasilica of St. John Lateran
251:
211:
47:
3132:14th-century Italian architects
3122:13th-century Italian architects
2836:, London, 1900 (2nd edn, 1905).
2703:A Cambridge Companion to Giotto
2470:
2452:
2390:
2369:
2315:
2294:
2277:
2260:
2247:
2234:
2219:
2202:
2182:
2173:
2130:
2113:
2088:
2067:
2042:
2021:
2004:
1987:
1962:
1945:
1928:
1915:
1902:
1893:
1884:
1852:
1808:
1795:
1766:
1749:
1661:Art in Detail: 100 Masterpieces
1299:In 1328, the altarpiece of the
1238:Approval of the Franciscan Rule
921:
712:The theme of the decoration is
2860:. Los Angeles: Taschen, 2006.
2637:, Electa Napoli, Napoli 2006.
2582:Bistoletti, Sandrina Bandera
2210:Italian Altarpieces, 1250–1500
2035:, London, 2008; Andrew Ladis,
2027:Anne Derbes and Mark Sandona,
1637:Merriam-Webster.com Dictionary
1624:
1591:
1560:
1543:
1523:
1463:
1339:were based on ideas by Dante.
1291:Engraving after a portrait of
1203:The Visions of John on Ephesus
1161:) and the lost Giugni Chapel (
918:being named after the artist.
746:cycle was probably taken from
619:An early biographical source,
470:Vasari also relates that when
104:Florence, Republic of Florence
13:
1:
3137:14th-century Italian painters
3127:13th-century Italian painters
2834:Giotto and His Works in Padua
2720:. New York: Abbeville, 2012.
2633:de Castris, Pierluigi Leone,
2272:Art and Architecture in Italy
2077:. Hong Kong; Taschen. p. 34.
1686:Bartlett, Kenneth R. (1992).
1533:. Hong Kong: Taschen. p. 92.
1451:
1258:Stigmatization of St. Francis
1067:
654:, where there remains only a
595:Stigmatization of St. Francis
562:Stigmatization of St. Francis
189:
66:
2716:Flores D'Arcais, Francesca,
1248:, down the left wall to the
1153:now in the Museum of Art of
1143:Life of St. John the Baptist
930:Details of figures from the
545:. In the 1960s, art experts
185:[ˈdʒɔttodibonˈdoːne]
7:
2326:. Brill. pp. 327–353.
2266:L. Tintori and E. Borsook,
2001:, Cambridge, 2004, 176–193.
781:
742:. Giotto's inspiration for
697:that in 2021 were declared
573:. They include a fresco of
10:
3193:
3058:(involvement, 1334–1337) (
2919:
2880:Page at Web Gallery of Art
2515:. et al. Time-Life Books.
2500:
1573:Collins English Dictionary
1167:Stories of the Holy Virgin
577:and an enormous suspended
195:– January 8, 1337), known
29:
3048:
3029:
3010:
2927:
2622:, Einaudi, Torino, 1985.
2332:10.1163/9789004215139_032
2291:, Florence, 1981, 65, 71.
2010:Schwarz, Michael Viktor,
1805:, Cambridge, 2004, 12–13.
1741:Hartt, Frederick (1989).
1091:
885:Massacre of the Innocents
390:Basilica of Saint Francis
153:
137:
119:
109:
93:
58:
46:
39:
3068:(c. 1333; attribution) (
2216:, Florence, 1992, 37–44.
2039:, University Park, 2009.
1959:, New York, 2004, 32–62.
990:Old St. Peter's Basilica
909:, which led to the 1986
901:, in which a comet-like
842:
396:, and his burial place.
3172:Italian Roman Catholics
3152:Church frescos in Italy
2694:Encyclopædia Britannica
2604:, Skira, Milano, 2002.
2531:Giotto e la sua bottega
2274:, Baltimore, 1968, 72f.
2096:Stigmata of St. Francis
2018:, Vol. 73, 2010, 39–64.
1614:Oxford University Press
1555:Encyclopædia Britannica
1207:The Raising of Drusiana
1199:St. John the Evangelist
1163:Stories of the Apostles
1147:St. John the Evangelist
1087:Dormition of the Virgin
940:Basilica of St. Anthony
499:Old St Peter's Basilica
491:. He also designed the
455:, who worked mainly in
333:. He worked during the
32:Giotto (disambiguation)
2992:Strasbourg Crucifixion
2758:Michael Viktor Schwarz
2507:Eimerl, Sarel (1967).
2073:Wolf, Norbert (2006).
1881:, pp. 95, 106–07.
1757:Trattoria di Romignano
1296:
1279:
1177:
1113:
1082:
935:
879:
744:The Life of the Virgin
703:Enrico degli Scrovegni
686:
616:
591:Santo Stefano al Ponte
522:
417:
3177:Painters from Tuscany
3167:Italian male painters
3041:(c. 1298–1300) (lost)
2449:, September 22, 2000.
2312:, 41 (1988), 583–613.
2310:Renaissance Quarterly
2094:The remaining parts (
2053:. Szeged: JATEPress.
1921:Rintelen, Friedrich,
1659:Hodge, Susie (2016).
1610:UK English Dictionary
1321:Lamentation of Christ
1305:Santa Croce, Florence
1290:
1283:Later works and death
1274:
1211:The Ascension of John
1175:
1127:church of Santa Croce
1111:
1060:
1042:Santa Trinita Madonna
971:Franciscan Allegories
944:Palazzo della Ragione
934:in the Peruzzi Chapel
929:
898:Adoration of the Magi
872:
699:UNESCO World Heritage
681:
660:Church of St. Francis
621:Riccobaldo of Ferrara
607:
517:
472:Pope Benedict XI
410:Legend of St. Francis
407:
400:Early life and career
2979:(c. 1320 or earlier)
2976:Stefaneschi Triptych
2545:Lives of the Artists
1726:Lives of the Artists
1446:Filippo Brunelleschi
1250:Death of St. Francis
1191:St. John the Baptist
1103:Church of Ognissanti
1089:, now in the Berlin
1023:workshop of Romans.
1007:Stefaneschi Triptych
383:(bell tower) of the
80:Republic of Florence
30:For other uses, see
3107:Paintings by Giotto
2620:La pecora di Giotto
1940:La pecora di Giotto
1774:Burlington Magazine
1698:(Paperback). p. 37.
1518:The World of Giotto
1434:congenital dwarfism
1276:Campanile di Giotto
1262:Appearance at Arles
1246:Appearance at Arles
1151:Madonna with Saints
1135:Life of St. Francis
952:Giusto de' Menabuoi
932:Raising of Drusiana
820:Jonah and the Whale
754:Jacobus de Voragine
571:Santa Maria Novella
535:Life of St. Francis
3066:Ponte alla Carraia
3056:Giotto's Campanile
2984:Berlin Crucifixion
2968:Ognissanti Madonna
2381:Franciscan Studies
2268:The Peruzzi Chapel
2193:Ognissanti Madonna
1520:, Time-Life Books.
1422:Francesco Mallegni
1352:Giotto's Campanile
1348:Florence Cathedral
1337:Book of Revelation
1297:
1280:
1221:'s frescos at the
1178:
1114:
1083:
1063:Ognissanti Madonna
1037:Ognissanti Madonna
1012:Vatican Pinacoteca
994:Jacopo Stefaneschi
967:The Life of Christ
936:
880:
878:, Scrovegni Chapel
771:Giovanni Boccaccio
758:The Life of Christ
740:The Life of Christ
687:
629:Friedrich Rintelen
617:
523:
487:of 1300 called by
463:'s anecdote about
451:, the other being
418:
385:Florence Cathedral
370:Life of the Virgin
368:cycle depicts the
3162:Gothic architects
3147:Catholic painters
3102:Trecento painters
3092:Giotto di Bondone
3079:
3078:
2866:978-3-8228-5160-9
2802:Giotto and Assisi
2751:Giotto architetto
2749:Gioseffi, Decio,
2744:978-88-06-18462-9
2711:978-0-521-77007-1
2536:Vasari, Giorgio.
2108:Heads of Prophets
2060:978-963-315-076-4
1912:, 54 (1991), 244.
1670:978-0-500-23954-4
1640:. Merriam-Webster
1407:Burial and legacy
1392:The Divine Comedy
1360:Francesco Talenti
1323:in the church of
1301:Baroncelli Chapel
975:the Golden Legend
903:Star of Bethlehem
858:Mocking of Christ
849:Arnolfo di Cambio
796:Passion of Christ
749:The Golden Legend
641:St. Francis Cycle
339:Proto-Renaissance
177:Giotto di Bondone
174:
173:
166:Proto-Renaissance
101:(aged 69–70)
63:Giotto di Bondone
41:Giotto di Bondone
16:(Redirected from
3184:
2914:
2907:
2900:
2891:
2890:
2808:Pisani, Giuliano
2698:
2690:
2616:Bellosi, Luciano
2598:Basile, Giuseppe
2526:
2514:
2494:
2493:
2491:
2489:
2474:
2468:
2467:
2456:
2450:
2444:
2433:
2427:
2421:
2415:
2409:
2394:
2388:
2373:
2367:
2365:
2359:
2355:
2353:
2345:
2319:
2313:
2298:
2292:
2281:
2275:
2264:
2258:
2253:Giorgio Vasari,
2251:
2245:
2238:
2232:
2226:Duncan Kennedy,
2223:
2217:
2206:
2200:
2186:
2180:
2177:
2171:
2170:
2134:
2128:
2121:Giovanni da Nono
2117:
2111:
2092:
2086:
2071:
2065:
2064:
2046:
2040:
2025:
2019:
2008:
2002:
1991:
1985:
1984:
1982:
1980:
1966:
1960:
1951:Zanardi, Bruno,
1949:
1943:
1932:
1926:
1919:
1913:
1906:
1900:
1897:
1891:
1888:
1882:
1876:
1870:
1856:
1850:
1844:
1833:
1832:
1830:
1828:
1812:
1806:
1799:
1793:
1787:
1781:
1770:
1764:
1753:
1747:
1746:
1738:
1729:
1724:Giorgio Vasari,
1722:
1699:
1684:
1678:
1677:
1656:
1650:
1649:
1647:
1645:
1628:
1622:
1621:
1616:. Archived from
1595:
1589:
1588:
1586:
1584:
1564:
1558:
1547:
1541:
1527:
1521:
1514:
1478:
1475:artistic license
1467:
1383:Franco Sacchetti
1223:Brancacci Chapel
1123:Lorenzo Ghiberti
1096:
1095:
1072:
1069:
1051:Rucellai Madonna
691:Scrovegni Chapel
684:Scrovegni Chapel
674:Scrovegni Chapel
668:Pietro da Rimini
637:
625:St Francis Cycle
575:The Annunciation
551:Leonetto Tintori
525:Cimabue went to
422:Colle Vespignano
358:Scrovegni Chapel
343:Giovanni Villani
331:Late Middle Ages
305:
301:
295:
294:
291:
290:
287:
284:
281:
278:
273:
272:
269:
266:
263:
260:
257:
250:
239:
234:
233:
230:
229:
226:
223:
220:
217:
210:
194:
191:
187:
182:
144:Scrovegni Chapel
140:
100:
88:
85:Italian Republic
71:
68:
51:
37:
36:
21:
3192:
3191:
3187:
3186:
3185:
3183:
3182:
3181:
3157:Fresco painters
3097:Gothic painters
3082:
3081:
3080:
3075:
3044:
3025:
3011:Painting series
3006:
2944:Badia Polyptych
2923:
2918:
2876:
2871:
2856:Wolf, Norbert,
2772:Gnudi, Cesare,
2732:Frugoni, Chiara
2635:Giotto a Napoli
2578:
2576:Further reading
2523:
2503:
2498:
2497:
2487:
2485:
2483:Telegraph.co.uk
2475:
2471:
2464:Business Report
2458:
2457:
2453:
2445:
2436:
2428:
2424:
2416:
2412:
2395:
2391:
2374:
2370:
2357:
2356:
2347:
2346:
2342:
2320:
2316:
2299:
2295:
2282:
2278:
2265:
2261:
2252:
2248:
2239:
2235:
2224:
2220:
2207:
2203:
2187:
2183:
2179:White, 332, 343
2178:
2174:
2135:
2131:
2118:
2114:
2093:
2089:
2072:
2068:
2061:
2047:
2043:
2026:
2022:
2009:
2005:
1992:
1988:
1978:
1976:
1968:
1967:
1963:
1950:
1946:
1933:
1929:
1920:
1916:
1907:
1903:
1898:
1894:
1889:
1885:
1877:
1873:
1857:
1853:
1845:
1836:
1826:
1824:
1813:
1809:
1800:
1796:
1788:
1784:
1780:, Vienna, 2004.
1771:
1767:
1754:
1750:
1739:
1732:
1723:
1702:
1685:
1681:
1671:
1657:
1653:
1643:
1641:
1630:
1629:
1625:
1601:
1596:
1592:
1582:
1580:
1566:
1565:
1561:
1548:
1544:
1528:
1524:
1515:
1492:
1482:
1481:
1468:
1464:
1454:
1409:
1368:Azzone Visconti
1329:Illustrious Men
1313:Robert of Anjou
1285:
1119:
1070:
924:
845:
784:
760:draws upon the
682:Kiss of Judas,
676:
631:
587:Diocesan Museum
543:Master of Isaac
504:Badia Polyptych
461:Pliny the Elder
402:
319:Italian painter
303:
299:
275:
254:
245:
244:
237:
214:
205:
204:
192:
180:
170:
138:
105:
102:
98:
97:January 8, 1337
89:
82:
72:
69:
65:
64:
54:
42:
35:
28:
23:
22:
15:
12:
11:
5:
3190:
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3179:
3174:
3169:
3164:
3159:
3154:
3149:
3144:
3139:
3134:
3129:
3124:
3119:
3114:
3109:
3104:
3099:
3094:
3077:
3076:
3074:
3073:
3063:
3052:
3050:
3046:
3045:
3043:
3042:
3033:
3031:
3027:
3026:
3024:
3023:
3022:(c. 1320–1325)
3019:Life of Christ
3014:
3012:
3008:
3007:
3005:
3004:
3003:(c. 1330–1335)
2996:
2988:
2980:
2972:
2964:
2963:(c. 1304–1306)
2956:
2955:(c. 1303–1305)
2952:Padua Crucifix
2948:
2940:
2939:(c. 1295–1300)
2931:
2929:
2925:
2924:
2917:
2916:
2909:
2902:
2894:
2888:
2887:
2882:
2875:
2874:External links
2872:
2870:
2869:
2854:
2844:
2837:
2827:
2824:978-8866433538
2805:
2798:Meiss, Millard
2795:
2792:978-0271034072
2777:
2770:
2767:978-3205217015
2754:
2747:
2729:
2714:
2699:
2688:"Giotto"
2683:Colvin, Sidney
2679:
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2646:
2631:
2613:
2595:
2579:
2577:
2574:
2573:
2572:
2555:
2541:
2534:
2529:Previtali, G.
2527:
2521:
2502:
2499:
2496:
2495:
2469:
2451:
2434:
2432:, p. 135.
2422:
2420:, p. 158.
2410:
2389:
2368:
2341:978-9004215139
2340:
2314:
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2151:10.2307/750834
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2020:
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1901:
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1883:
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1851:
1849:, p. 106.
1834:
1821:thecultural.me
1807:
1794:
1782:
1765:
1761:Mugello region
1748:
1730:
1700:
1679:
1669:
1651:
1623:
1620:on 2020-03-03.
1590:
1559:
1542:
1539:978-3822851609
1522:
1516:Sarel Eimerl,
1489:
1488:
1480:
1479:
1461:
1460:
1453:
1450:
1438:Last Judgement
1414:Santa Reparata
1408:
1405:
1284:
1281:
1159:North Carolina
1139:Peruzzi Chapel
1118:
1115:
1093:Gemäldegalerie
923:
920:
907:Halley's comet
844:
841:
783:
780:
727:Last Judgement
675:
672:
597:housed in the
401:
398:
374:Life of Christ
347:Giorgio Vasari
172:
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120:Known for
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2780:Ladis, Andrew
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2677:
2676:0-8076-1310-X
2673:
2669:
2666:Cole, Bruce,
2665:
2662:
2661:0-06-430900-2
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2650:
2647:
2644:
2643:88-510-0386-6
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2629:
2628:88-06-58339-5
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1843:
1841:
1839:
1823:. Recreyo Ltd
1822:
1818:
1811:
1804:
1798:
1792:, p. 85.
1791:
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1579:
1578:HarperCollins
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1471:Antonio Pucci
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1242:Trial by Fire
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817:
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585:, now in the
584:
580:
576:
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564:
563:
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557:
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547:Millard Meiss
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506:
505:
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489:Boniface VIII
486:
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132:architecture
99:(1337-01-08)
3117:1337 deaths
3112:1267 births
2649:Cole, Bruce
2558:White, John
2430:Eimerl 1967
2418:Eimerl 1967
2358:|work=
2283:C. Brandi,
2104:Crucifixion
1879:Eimerl 1967
1847:Eimerl 1967
1790:Eimerl 1967
1230:St. Francis
1215:Franciscans
1071: 1310
911:space probe
890:John Ruskin
863:Lamentation
853:perspective
827:ultramarine
788:St. Joachim
718:Virgin Mary
632: [
610:Crucifixion
556:Crucifixion
427:Ambrogiotto
408:One of the
329:during the
193: 1267
161:Late Gothic
110:Nationality
70: 1267
3086:Categories
2726:0789211149
2570:0140561285
2240:Ghiberti,
2145:: 57–103.
2083:3822851604
1452:References
1401:Purgatorio
1278:(Florence)
1097:, and the
1081:, Florence
960:Altichiero
146:frescoes,
3038:Navicella
2995:(c. 1320)
2987:(c. 1320)
2971:(c. 1310)
2947:(c. 1300)
2928:Paintings
2406:963830818
2360:ignored (
2350:cite book
2167:195043668
2125:Lucidator
1979:15 August
1600:(US) and
1485:Citations
1457:Footnotes
1295:by Giotto
1016:martyrdom
1002:necrology
985:Navicella
948:Guariento
812:Injustice
804:grisaille
800:grisaille
714:Salvation
494:Navicella
431:Angelotto
381:campanile
351:Byzantine
323:architect
317:, was an
311:Latinised
148:Campanile
3070:Florence
3060:Florence
2685:(1911).
2488:23 March
1632:"Giotto"
1603:"Giotto"
1598:"Giotto"
1568:"Giotto"
1372:Bargello
1327:and the
1264:and the
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1133:Chapel (
1099:Crucifix
942:and the
837:Nativity
792:St. Anne
782:Sequence
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656:Crucifix
579:Crucifix
539:Napoleon
372:and the
327:Florence
181:Italian:
154:Movement
124:Painting
76:Florence
3030:Mosaics
2816:Rizzoli
2501:Sources
1925:(1912).
1868:2616448
1644:June 1,
1583:June 1,
1552:at the
1426:arsenic
1344:Bologna
1183:a secco
1155:Raleigh
1137:), the
1101:in the
1029:Avignon
998:Baroque
832:a secco
808:Justice
802:). The
732:Gabriel
485:Jubilee
449:Tuscany
444:Cimabue
436:In his
315:Giottus
114:Italian
2921:Giotto
2864:
2822:
2790:
2774:Giotto
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2540:(1568)
2533:(1993)
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2338:
2302:L’Arte
2289:Giotto
2285:Giotto
2165:
2159:750834
2157:
2081:
2075:Giotto
2057:
1974:UNESCO
1866:
1694:
1667:
1608:Lexico
1550:Giotto
1537:
1317:Naples
1079:Uffizi
1075:inches
1046:Duccio
1021:ad hoc
958:, and
915:Giotto
652:Rimini
614:Rimini
599:Louvre
527:Assisi
509:Uffizi
465:Zeuxis
453:Duccio
414:Assisi
394:Assisi
366:fresco
335:Gothic
309:) and
201:Giotto
128:fresco
2543:———.
2163:S2CID
2155:JSTOR
2014:, in
1397:Dante
1379:Dante
1366:with
1364:Milan
1293:Dante
1266:Death
1131:Bardi
843:Style
775:Dante
695:Padua
648:Padua
636:]
457:Siena
362:Padua
360:, in
325:from
302:-oh,
74:near
2862:ISBN
2820:ISBN
2788:ISBN
2763:ISBN
2740:ISBN
2722:ISBN
2707:ISBN
2672:ISBN
2657:ISBN
2639:ISBN
2624:ISBN
2606:ISBN
2588:ISBN
2566:ISBN
2549:ISBN
2517:ISBN
2490:2018
2402:OCLC
2362:help
2336:ISBN
2106:and
2079:ISBN
2055:ISBN
1981:2021
1864:OCLC
1829:2021
1692:ISBN
1665:ISBN
1646:2019
1585:2019
1535:ISBN
1430:lead
1428:and
1381:and
1256:The
1145:and
1044:and
860:and
856:the
810:and
790:and
756:and
738:and
666:and
608:The
549:and
337:and
321:and
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59:Born
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589:of
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240:-oh
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