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GIOTTO di Bondone The Virgin Receiving the Message 1306 Fresco, 150 x 195 cm
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GIOTTO di Bondone Last Judgment 1306 Fresco, 1000 x 840 cm
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GIOTTO di Bondone Decorative band with figures 1304-06 Fresco Cappella Scrovegni
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GIOTTO di Bondone Decorative band with figures 1304-06 Fresco Cappella Scrovegni
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GIOTTO di Bondone Decorative band with figure 1304-06 Fresco Cappella Scrovegni
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GIOTTO di Bondone Wrath 1306 Fresco, 120 x 55 cm
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GIOTTO di Bondone Annunciation to Zacharias 1320 Fresco, 280 x 450 cm
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GIOTTO di Bondone Entry into Jerusalem 1304-06 Fresco, 200 x 185 cm
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GIOTTO di Bondone Christ before Caiaphas 1304-06 Fresco, 200 x 185 cm
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GIOTTO di Bondone Road to Calvary 1304-06 Fresco, 200 x 185 cm
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GIOTTO di Bondone Ascension of the Evangelist 1320 Fresco, 280 x 450 cm
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GIOTTO di Bondone Stigmatisation of Saint Francis 1325 Fresco, 390 x 370 cm
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GIOTTO di Bondone Renunciation of Wordly Goods 1325 Fresco, 280 x 450 cm
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GIOTTO di Bondone Apparition at Arles 1325 Fresco, 280 x 450 cm
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GIOTTO di Bondone Death and Ascension of St Francis c. 1325 Fresco, 280 x 450 cm
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GIOTTO di Bondone St Francis before the Sultan 1325 Fresco, 280 x 450 cm
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GIOTTO di Bondone Christ Enthroned c. 1330 Tempera on panel
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GIOTTO di Bondone St John the Evangelist 1320-25 Tempera on wood, 81 x 55 cm
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GIOTTO di Bondone Martyrdom of Peter c. 1330 Tempera on panel
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GIOTTO di Bondone The Stefaneschi Triptych c. 1330 Tempera on panel, 220 x 245 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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