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GIOTTO di Bondone Road to Calvary 200 x 185 cm
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GIOTTO di Bondone St John on Patmos 280 x 450 cm
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GIOTTO di Bondone View of a chapel 1304-06
150 x 140 cm
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GIOTTO di Bondone St Paul Oil on canvas
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GIOTTO di Bondone Frescoes in the second bay of the nave Oil on canvas
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GIOTTO di Bondone St Peter Oil on canvas
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GIOTTO di Bondone Presentation of Christ at the Temple 1304-06
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GIOTTO di Bondone Christ among the Doctors 200 x 185 cm
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GIOTTO di Bondone Homage of a Simple Man 270 x 230 cm
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GIOTTO di Bondone St Francis Giving his Mantle to a Poor Man 270 x 230 cm
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GIOTTO di Bondone Dream of the Palace 270 x 230 cm
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GIOTTO di Bondone Miracle of the Crucifix 270 x 230 cm
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GIOTTO di Bondone Renunciation of Wordly Goods 270 x 230 cm
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GIOTTO di Bondone Confirmation of the Rule 270 x 230 cm
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GIOTTO di Bondone Vision of the Thrones 270 x 230 cm
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GIOTTO di Bondone Exorcism of the Demons at Arezzo 270 x 230 cm
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GIOTTO di Bondone Ecstasy of St Francis 270 x 230 cm
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GIOTTO di Bondone Institution of the Crib at Greccio 270 x 230 cm
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GIOTTO di Bondone Miracle of the Spring 1297-1300
270 x 200 cm
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GIOTTO di Bondone Sermon to the Birds 270 x 200 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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