Giovanni Cimabue

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Cimabue, Giovanni


(real name, Cenni di Peno). Born circa 1240; died circa 1302. Italian painter, representative of the Florentine school of the late 13th century.

Cimabue worked in Assisi, Pisa, and Florence. Despite a number of innovations reminiscent of the work of Cavallini, Cimabue’s art as a whole developed within the framework of Byzantine tradition. Examples of his work are a cycle of frescoes in the Upper Church of St. Francis (c. 1290, Assisi), Crucifix (c. 1285, Uffizi Gallery, Florence), Crucifix and Madonna (1295, Santa Croce Museum, Florence), and the large altarpiece Madonna Enthroned (c. 1285, Uffizi Gallery). Cimabue’s paintings are distinguished by monumentality, compositional symmetry, precision of line, and refinement and decorativeness of palette. There is gold striation on the garments, and two-dimensional and three-dimensional renderings of figures and faces are combined.


Battisti, E. Cimabue. Milan, 1963.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
But in the days following, as he tried to define and measure the difference between Cimabue and the nameless Byzantine masters who preceded him, each distinction dissolved as soon as he tried to translate it into words.
(1) Cimabue es el pseudonimo que utilizo a lo largo de su vida artistica Cenni di Pepo, nacido, segun parece, en Florencia en torno a 1240 y nmerto en Pisa el ano 1302.
Por meio do dialogo entre dois interlocutores--o escritor e poeta Pietro Aretino (1492-1556) e o gramatico florentino Giovan Francesco Fabrini (15161580) --Dolce construiu uma critica indireta a obra do historiador florentino Giorgio Vasari, Le vite de'piU eccellenti architetti, pittori, et scultori italiani, da Cimabue, insino a'tempi nostri, publicada em 1550 (VASARI 1986; 2010).
The trouble is, do you see, my dear old Bernard, that Giotto, Cimabue, as well as Holbein and Van Eyck, lived in an obeliscal--if you'll pardon the expression--society, layered, architecturally constructed, in which each individual was a stone, all of them holding together and forming a monumental society.
Much later, as the capital of Christianity in the early medieval era, Rome was the subject of the first known cityscape in western art, painted in 1280 by the Florentine artist Cimabue. Both of these visual triumphs are celebrated in The History of Rome in Painting.
It explains why Renaissance artists didn't paint like Picasso but why, at the end of that epoch, they weren't painting like Cimabue or Giotto either.
The only place that this was relatively popular was in the separate room of Cimabue's cross ...