And I have seen the aged Giotto, and he in turn was pupil to
Cimabue, before whom there was no art in Italy, for the Greeks were brought to paint the chapel of the Gondi at Florence.
iii] Vasari G (1550) Le Vite de' piu Eccellenti Architetti, Pittori, et Scultori Italiani, da
Cimabue Insino a' Tempi Nostri.
El arte cambio para siempre con la aparicion de los museos publicos en el siglo XIX: "un crucifijo romanico no era originalmente una escultura, la Madonna de
Cimabue no era un cuadro, tampoco la Palas Atenea de Fidias era una estatua" (Malraux, 1947, p.
Mathews traces the course of panel painting from 'lost' ancient Greek examples, through a tranche of specimens of the genre from Roman Egypt, a host of Byzantine works in a great variety of materials, and across the Adriatic to
Cimabue and Duccio.
In Arezzo, besides architectural monuments, there are noteworthy works of art by Donatello,
Cimabue, Piero della Francesca, Giorgio Vasari, and Pietro Annigoni, among others; there is a gold museum that speaks to the city's long involvement in the jewelry-making industry.
Le vite dei pio eccelenti pittori, scultori e architetti italiani da
Cimabue insino a'tempi nostri, 3* ed.
Jesus said, I remember Giotto,
Cimabue, Fra Angelico.
Fue "un autentico genio," como reconoceria Giorgio Vasari en su Vida de los mejores pintores, escultores y arquitectos (Vite de' piu eccellenti architetti, pittori, et scultori italiani, da
Cimabue insino a' tempi nostri (1550, segunda edicion ampliada 1568).
Le vite de'piu eccellenti architetti, pittori, et scultori italiani, da
Cimabue insino a'tempi nostri.
Byzantine sacred art thus set the stage for early Renaissance masters like
Cimabue and Giotto, providing a conceptual framework which their successors modified by incorporating more realistic modeling and perspective into their method.
La conclusion: "En el arte italiano se habian producido muchos cambios desde los dias del primer maestro,
Cimabue.
Filippo Baldinucci, Notizie dei professori del disegno da
Cimabue in qua, ed.
Cimabue - painter of the Florentine school; anticipated the move from Byzantine to naturalistic art (1240-1302)