Cimabue


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Ci·ma·bu·e

 (chē′mä-bo͞o′ĕ), Giovanni Originally Cenni di Pepo. 1240?-1302?
Italian painter trained in the Byzantine style and considered the first master of the Florentine school.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

Cimabue

(Italian tʃimaˈbuːe)
n
(Biography) Giovanni (dʒoˈvanni). ?1240–?1302, Italian painter of the Florentine school, who anticipated the movement, led by Giotto, away from the Byzantine tradition in art towards a greater naturalism
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Ci•ma•bu•e

(ˌtʃi məˈbu eɪ)

n.
Giovanni, (Cenni di Pepo), c1240–1302?, Italian painter and mosaicist.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Cimabue - painter of the Florentine schoolCimabue - painter of the Florentine school; anticipated the move from Byzantine to naturalistic art (1240-1302)
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References in classic literature ?
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.
The imitation of insect life was a signal of artistic invention: Vasari's life of Giotto retells an anecdote in which the artist, studying as a child with Cimabue, painted on the nose of one of Cimabue's figures a fly so realistic that the older artist attempted to brush it off.
He breaks down this development into three distinct periods: in the first age, beginning with Cimabue and Giotto, art was reborn in Florence through the rediscovery of rudimentary technical and emotional realism; in the second, beginning with Masaccio, Brunelleschi, and others, art progressed toward increasing naturalism and fluency; in the third age, beginning with Leonardo and ending with Michelangelo, art reached its "perfection." It is a hierarchical and historiographic model of progress in the arts that has endured down to the present, one that is fully reflected in how art is curated and displayed in museums today.
One can imagine Baldinucci, author of Notizie de' professori del disegno da Cimabue in qua (Notes on teachers of drawing from Cimabue until now) and an amateur artist himself, collecting drawings to show Leopoldo while holding some back for himself.
From left: Untitled, 1963-70; Homage to Cimabue Study, 1968.
[iii] Vasari G (1550) Le Vite de' piu Eccellenti Architetti, Pittori, et Scultori Italiani, da Cimabue Insino a' Tempi Nostri.
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.
E fato que, como bem lembra Andre Malraux, "um crucifixo romanico nao era, de inicio, uma escultura; a Madona de Cimabue nao era, de inicio, um quadro; nem sequer a Atena de Fidias era, de inicio, uma estatua".
Pode dizer-se que Joao Marcos "recria uma iconografia de raiz intemporal e essencialista, na tradicao iconologica protocrista, com passagens eletivas pela iconologia bizantina, por Giotto e por Cimabue" (Silva, 2001), ao mesmo tempo que se reconhece que