Inside, frescoes by Giotto and Cimabue tell the story of the life of Saint Francis of Assisi, showing key episodes running ...

There’s more to the city than museums and monuments, explore like a local with an insider guide to 48 hours in the cradle of ...

Cimabue carefully illustrates how the frenzied mob is composed of distinct actors; there is no parallel in the 13th-century art for a scene with this level of individuation and brutality.

Appreciation for Cimabue by later generations has been further compromised both by the paltry number of surviving works by his hand and by the glaring contrast between the pristine condition of Giotto ...

Many art historians believe that Cimabue was Giotto’s teacher, and that he also had a considerable influence over the similarly important Sienese painter Duccio di Buonisegna, soon to be the ...

But Giotto, Cimabue’s pupil, is responsible for much of the way the modern world sees Saint Francis, and everyone from Dante forward has felt he eclipsed his master. In Canto 11 of his Purgatorio, ...

The tale of how he came to be eclipsed by Giotto had been told before by Dante in his “Divine Comedy”, begun shortly after Cimabue’s death in 1302.

For centuries, the Italian painter Cimabue has been overshadowed by his more famous pupil Giotto, who—with his attention to naturalism and perspective—is widely credited with ushering in the ...

In a bold and thrilling argument, Roland Allen asserts that Renaissance painting began with Cimabue (and his student Giotto) because he was one of the first artists in Christian Europe to have ...

Here again Ruskin played a crucial role. He popularized the views of Alexis-François Rio—a contemporary French writer—who ...