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Related to Giotto: Giotto di Bondone, Masaccio


 (jŏt′ō, jōt′tō) Full name Giotto di Bondone. 1267?-1337.
Florentine painter who turned from the formulaic Byzantine style to a more natural representation of human expression and movement.
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.


(Italian ˈdʒɔtto)
(Biography) also known as Giotto di Bondone. ?1267–1337, Florentine painter, who broke away from the stiff linear design of the Byzantine tradition and developed the more dramatic and naturalistic style characteristic of the Renaissance: his work includes cycles of frescoes in Assisi, the Arena Chapel in Padua, and the Church of Santa Croce, Florence


(Astronautics) a European spacecraft that intercepted the path of Halley's comet in March 1986, gathering data and recording images, esp of the comet's nucleus
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(ˈdʒɒt oʊ)

(Giotto di Bondone) 1266?–1337, Florentine painter, sculptor, and architect.
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.Giotto - Florentine painter who gave up the stiff Byzantine style and developed a more naturalistic styleGiotto - Florentine painter who gave up the stiff Byzantine style and developed a more naturalistic style; considered the greatest Italian painter prior to the Renaissance (1267-1337)
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References in classic literature ?
They moved on hand in hand, and never spoke a word, the drooping of their heads being that of Giotto's "Two Apostles".
Over such trivialities as these many a valuable hour may slip away, and the traveller who has gone to Italy to study the tactile values of Giotto, or the corruption of the Papacy, may return remembering nothing but the blue sky and the men and women who live under it.
Of course, it contained frescoes by Giotto, in the presence of whose tactile values she was capable of feeling what was proper.
The chapel was already filled with an earnest congregation, and out of them rose the voice of a lecturer, directing them how to worship Giotto, not by tactful valuations, but by the standards of the spirit.
Observe how Giotto in these frescoes--now, unhappily, ruined by restoration--is untroubled by the snares of anatomy and perspective.
It is the Giottos that I want to see, if you will kindly tell me which they are."
In themselves there is nothing to choose between the Campanile of Giotto and a factory chimney.
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.
He applied his imitative powers to everything, and, like Giotto, when young, he drew on his slate sheep, houses, and trees.
Chapter 4 deals with Pasolini's Decameron, antithetically framed by Ser Cepparello and Giotto. The focus here is on Pasolini's Giotto painting an ideal from fallible models, and Boccaccio creating an aesthetic of art from the raw materials of narration.
The priceless art collections, including 15th century Flemish tapestries woven for the Medicis, paintings by Giotto precursors and students, Romanesque sculptures, and a Donatello relief of Virgin and Child.