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GIOTTO di Bondone St Francis Preaching before Honorius III 1297-1300
270 x 230 cm
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GIOTTO di Bondone Apparition at Arles 1297-1300
270 x 230 cm
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GIOTTO di Bondone Death and Ascension of St Francis 270 x 230 cm
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GIOTTO di Bondone Apparition to Fra Agostino and to Bishop Guido of Arezzo 1300
270 x 230 cm
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GIOTTO di Bondone Verification of the Stigmata 270 x 230 cm
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GIOTTO di Bondone St. Francis Mourned by St. Clare 270 x 230 cm
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GIOTTO di Bondone Canonization of St Francis 270 x 230 cm
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GIOTTO di Bondone Dream of St Gregory 270 x 230 cm
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GIOTTO di Bondone Joachim among the Shepherds 1304-06
200 x 185 cm
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GIOTTO di Bondone Annunciation to St Anne 200 x 185 cm
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GIOTTO di Bondone Joachim-s Dream 200 x 185 cm
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GIOTTO di Bondone Meeting at the Golden Gate 1304-06
200 x 185 cm
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GIOTTO di Bondone The Bringing of the Rods to the Temple 1304-06
200x 185 cm
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GIOTTO di Bondone The Suitors Praying 1304-06
200 x 185 cm
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GIOTTO di Bondone Wedding Procession 200 x 185 cm
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GIOTTO di Bondone God Sends Gabriel to the Virgin 1306
230 x 690 cm
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GIOTTO di Bondone Saint Francis and Saint Clare 1279-1300
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GIOTTO di Bondone Mary Magdalene-s Voyage to Marseilles 1320s
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GIOTTO di Bondone Return of Christ to Jerusalem 1310
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GIOTTO di Bondone Christ Among the Doctors 1310
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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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