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GIOTTO di Bondone Nativity,Adoration of the Shepherds and the Magi mk161
Tempera on wood
Gold ground
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GIOTTO di Bondone The birth, with the giornate indicated mk169
ca.1304-13 v. Chr. Fresco 231x202cm Scrovegnikapel, Padua
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GIOTTO di Bondone Baroncelli Polyptych c. 1334
Tempera on wood,
185 x 323 cm
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GIOTTO di Bondone Saint Stephen 1320-25
Tempera on wood,
84 x 54 cm
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GIOTTO di Bondone GIOTTO 1320-25
Tempera on wood,
81 x 55 cm
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GIOTTO di Bondone The Epiphany 1320-25
Tempera on wood, gold ground,
45,1 x 43,8 cm
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GIOTTO di Bondone Stigmatization of St Francis 1300
Tempera on wood,
314 x 162 cm
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GIOTTO di Bondone Descent into Limbo 1320-25
Tempera on wood,
45 x 44 cm
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GIOTTO di Bondone Pentecost 1320-25
Egg tempera on poplar,
46 x 44 cm
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GIOTTO di Bondone Last Judgment 1000 x 840 cm
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GIOTTO di Bondone St Lawrence 1320-25
Tempera on wood,
81 x 55 cm
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GIOTTO di Bondone The Stefaneschi Triptych Martyrdom of St Paul c. 1330
Tempera on panel
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GIOTTO di Bondone Presentation in the Temple 1320-25
Tempera on wood,
44 x 43
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GIOTTO di Bondone Scenes from the Life of St John the Baptist 280 x 450 cm
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GIOTTO di Bondone Birth and Naming of the Baptist 280 x 450 cm
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GIOTTO di Bondone Feast of Herod 280 x 450 cm
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GIOTTO di Bondone Expulsion of the Money-changers from the Temple 1304-06
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GIOTTO di Bondone Judas-Betrayal 150 x 140 cm
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GIOTTO di Bondone Washing of Feet 200 x 185 cm
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GIOTTO di Bondone The Arrest of Christ 200 x 185 cm
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GIOTTO di Bondone
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Italian Early Renaissance Painter, 1267-1337
Italian painter and designer. In his own time and place he had an unrivalled reputation as the best painter and as an innovator, superior to all his predecessors, and he became the first post-Classical artist whose fame extended beyond his lifetime and native city. This was partly the consequence of the rich literary culture of two of the cities where he worked, Padua and Florence. Writing on art in Florence was pioneered by gifted authors and, although not quite art criticism, it involved the comparison of local artists in terms of quality. The most famous single appreciation is found in Dante's verses (Purgatory x) of 1315 or earlier. Exemplifying the transience of fame, first with poets and manuscript illuminators, Dante then remarked that the fame of Cimabue, who had supposed himself to be the leader in painting, had now been displaced by Giotto. Ironically, this text was one factor that forestalled the similar eclipse of Giotto's fame, which was clearly implied by the poet.
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