File:A new history of painting in Italy, from the II to the XVI century; (1908) (14586872590).jpg

Identifier: gri_33125002699086 (find matches)
Title: A new history of painting in Italy, from the II to the XVI century;
Year: 1908 (1900s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897 Hutton, Edward, 1875-1969
Subjects: Painting, Italian
Publisher: London, J. M. Dent New York, E. P. Dutton
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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CIMABUE 171 of the Academy of Arts at Florence nor that of the Louvre give ajust idea of the master. The altarpiece of the Academy of Artsmay, it is true, rank higher than that of the Rucellai as regardscomposition and the study of nature ; but the old types are moreobstinately maintained there; and, above all, the colour hasbeen so altered by time and restoring that the excellent qualitiesof Cimabue in this respect can hardly be traced any longer.^Cimabue here gave the Virgin a more natural attitude and a lessrotund head, but a weightier frame, stronger outlines, and a lesscareful execution than before. He characterised with a wildenergy the two prophets in the centre niche, and gave them indi-viduality of features and expression.^ In a Madonna of the sameform as those of S. Maria Novella and the Academy, now in theLouvre,^ the old ornamented frame with its twenty-six medallionsis reminiscent of the Virgin of the Rucellai chapel, and shares muchof its character, but seems less carefu

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