|
|
|
|
|
|
|
|
Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
|
|
GIOTTO di Bondone
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. |
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
Christ among the Doctors
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua In a rich red robe, the little twelve-year-old Jesus sits in the temple and holds a discussion - as his gesture quite clearly indicates. The arches of the architecture seem to echo the young boy's speech and at the same time to concentrate events on him. The scribes listen closely and in doing so show quite different reactions. Only one of them is completely distracted by the appearance of the worried parents. Artist: GIOTTO di Bondone Painting Title: No. 22 Scenes from the Life of Christ: 6. Christ among the Doctors , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
Baptism of Christ
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua In spite of the high quality details of this scene, the irrational representation of the water in which Christ stands indicates that Giotto was still influenced by medieval iconographic conventions. Artist: GIOTTO di Bondone Painting Title: No. 23 Scenes from the Life of Christ: 7. Baptism of Christ , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
Marriage at Cana
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua The comic characterization of the guests and servants is noteworthy in this scene. Artist: GIOTTO di Bondone Painting Title: No. 24 Scenes from the Life of Christ: 8. Marriage at Cana , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
Ecstasy of St Francis
1297-1300 Fresco, 270 x 230 cm Upper Church, San Francesco, Assisi This is the twelfth of the twenty-eight scenes (twenty-five of which were painted by Giotto) of Legend of Saint Francis. The five scenes from The Vision of the Flaming Chariot to St Francis in Ecstasy (No. 8-12) are characterized by inferior workmanship, especially in the figures. This scene was executed partly by assistants. Artist: GIOTTO di Bondone Painting Title: Legend of St Francis: 12. Ecstasy of St Francis , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
St Francis Preaching before Honorius III
1297-1300 Fresco Upper Church, San Francesco, Assisi Worthy of notice is the rich Cosmati work on the Pope's foot stool, whose bright colours recall the vault of the Doctors. Artist: GIOTTO di Bondone Painting Title: Legend of St Francis: 17. St Francis Preaching before Honorius III (detail) , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
Joachim among the Shepherds
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua Sad and introverted, Joachim arrives among the shepherds. Using the contrast between the lively sheep, the dog that greets him, and the knowing glances of the shepherds, Giotto elucidates his state of mind in the voluminous, closed form of the saint. Artist: GIOTTO di Bondone Painting Title: No. 2 Scenes from the Life of Joachim: 2. Joachim among the Shepherds , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
Joachim's Sacrificial Offering
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua In the open countryside, Joachim has sunk to the ground and catches sight of an angel, who indicates to him that his sacrifice has been accepted. Colour is used to establish a connection between these two figures, illustrating the miraculous nature of events. As so often, Giotto also employs a figure here who comments on the action ?the praying shepherd. In his colorings, he is closer to the rocks and the animals. He too recognizes the hand of benediction in the sky. Artist: GIOTTO di Bondone Painting Title: No. 4 Scenes from the Life of Joachim: 4. Joachim's Sacrificial Offering , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
The Birth of the Virgin
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua The six scenes on the wall opposite to the scenes from the life of Joachim show the Birth of the Virgin, the Presentation of the Virgin in the Temple, and the four episodes pertaining to her marriage: the Rods brought to the Temple, the Prayer of the Suitors, the Marriage of the Virgin and the Wedding Procession. The birth of the Virgin takes place in the same house as the annunciation to Anne. In the small room, somewhat too narrow for the figures, Anne sits up in bed and is handed the baby in its swaddling clothes by a nursemaid. The child appears for a second time in the idyllic scene in front of the mothers bed. As in the Annunciation scene, Giotto also shows the view of the building from outside. He does not divide interior and exterior, but connects them using the two women. Artist: GIOTTO di Bondone Painting Title: No. 7 Scenes from the Life of the Virgin: 1. The Birth of the Virgin , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
. Wedding Procession
1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua Mary walks in front of her companions and is led to the house other parents, where she is received by musicians. This group alone lends a cheery air to the sombre procession. The bay window of the house, from which a palm leaf juts out as an allusion to the imminent birth of the Lord, appears again in the representation of the Annunciation. In this way Giotto incorporates the Bridal Procession of the Virgin into the sequence of the narrative. The fresco was damaged by the humidity. Artist: GIOTTO di Bondone Painting Title: No. 12 Scenes from the Life of the Virgin: 6. Wedding Procession , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
Presentation of Christ in the Temple
1310s Fresco North transept, Lower Church, San Francesco, Assisi Artist: GIOTTO di Bondone Painting Title: Presentation of Christ in the Temple , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
GIOTTO di Bondone
St Francis in Glory
1330 Fresco Lower Church, San Francesco, Assisi St Francis is enthroned in the centre of the triangular surface and drawn towards heaven by angels. His figure and in particular his face seem to belong to another world. The golden rays that emanate from him heighten the effect of the gold-embroidered dalmatic. Artist: GIOTTO di Bondone Painting Title: Franciscan Allegories: St Francis in Glory (detail) , 1301-1350 Painting Style: Italian , , religious
|
| |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
| GIOTTO di Bondone
|
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.
|
|
|
|
|
|
|
|
