File:A new history of painting in Italy, from the II to the XVI century; (1908) (14771222644).jpg

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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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these, to Giotto, whose style developed itself underthe influence of the numerous examples which might here instructhis mind, his eye, and his already skilful hand. From the poorproductions of Giunta in the southern to the superior ones in thenorthern transept, a step towards the revival of form might benotfted. In the figure of the Enthroned Saviour, whose remainsare visible in the latter, the character of Cimabue might be traced.Its outlines indeed revealed the hand of him who had produced 1 Vasari, vol. i., p. 223, assigns not only the aisle paintings, but thoseof the ceilings, to Cimabue. 2 (It has been asserted that this fresco is not by the same hand as theRucellai Madonna (e.g., cf. Langton Douglas and Akthur Strong in AHistory of Painting in Italy by Crowe and Cavalcaselle (Murray, 1903),vol. ii., p. 2, note 3). Wo may agree, but it docs seem to me to bo by thesame hand as the Madonna of the Louvre and the Madonna of the FlorenceAcademy, which for me are the work of Cimabue.)
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Crowe, J. A. (Joseph Archer), 1825-1896; Cavalcaselle, G. B. (Giovanni Battista), 1820-1897;

Hutton, Edward, 1875-1969
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1
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29 July 2014
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