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521:. Even the innovations of students of Giotto from 1290 on, barely appear here. The contrasts achieved here by Cimabue, for example, do not follow the principles of a single light source. Nor do the folds seem to find better positions over the bodies. The gazes remain vague. The color palette is also limited in its complexity, especially when compared with the recent developments of the nascent
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428:, is thus focused on the threefold nature of the Virgin who is surrounded by the Holy Spirit. Below, at the sides of the throne, Jeremiah and Isaiah gaze up towards the child as if to confirm the prophecies written in their documents on the miraculous virgin birth of Jesus. With their gaze, they create a triangle whose vertex is the throne of Marie.
325:, and the attribution has been confirmed by most modern scholars, with the exception of Guglielmo della Valle in the 18th century and Langton Douglas in the 19th. Critics are more divided, however, over the work's dating. It's uncertain whether the painting was executed before or after the frescoes at the
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The arrangement of the four prophets has a precise doctrinal explanation: the patriarchs toward the center represent that human rational capacity, that inquires in the mystery of the
Incarnation. Meanwhile, the prophets on the sides have dissolved their doubts through contemplation and are in a state
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The bridge of the nose has the faded left outline and the nostrils don't look like a simple thickening, but a kind of incision that enter the fin of the nose, details lacking in the earlier Maestàs. The mouth has a serene air, almost a smile, that contrasts with the sad and serious air of the Louvre
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The painting demonstrates the mature style of
Cimabue, in which the artist overcomes the more rigid Byzantine styles with forms that are more loose and humanistic. According to Giorgio Vasari, this style made Cimabue the first to replace that style. The frontal view of the throne, the serene face of
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archetype (in Greek, the name means "pointing the way"), because the Virgin is indicating toward the Baby Jesus. In this style, the
Madonna symbolizes the Christian church and Jesus life, truth, and the proper way. The Madonna is depicted in three-quarters profile, while Jesus looks straight ahead.
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At an unknown date, the painting was cut into a rectangular shape by removing the uppermost part of the painting's apex and the addition of two parts on which angels were painted. The panel was returned to its original pointed form during its first restoration in 1890 by Oreste Cambi. Cambi removed
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Compared to his preceding Maestà paintings, this one presents a more profound use of perspective. In the throne, there are three vertical panels with increasing depth, compared to the two panels of
Cimabue's previous works. The pedestal and steps of the throne also have a concave design and are
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1288–1292, where the figures have a size not seen in
Cimabue's previous works. The folds of blue mantles no longer wraps but drapes loosely on bodies, on the knees of Marie, for example. The folds above her head fall vertically and are not drawn into concentric circles as in the first Madonna
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The throne is depicted from an innovative frontal view, with a large gap at the center and seen in perspective, which gives it a sense of three dimensions unusual for the time. (The preceding Maestás of
Cimabue depicted more angular thrones.) The throne assumes a new sense of might, as an
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from c. 1280. Instead they fall amply, as over the legs of Marie, or appear less arched, as in the blue mantle that covers her head. Byzantine iconography reappears in that blue mantle, but only for decorative purposes—a serene addition to the ample folds. The golden highlights from
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hollowed out in the front. The throne is shown from the front and reveals both its inner sides and that it is not a simple cross shape. The layout of the angels is also different. They are not simply placed over, but around the throne, which gives the composition further depth.
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and the last of the Assisi frescoes, is there a frontal view. Even the students of Duccio and Giotto depicted thrones in this way for all of the 1290s and others, indicated as the representation of a frontal-view throne was a late achievement of
Cimabue, found it only in this
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There is also better anatomical features to the faces, with their smoothed edges and detailed brushstrokes. For example, the
Madonna has a cut at the level of her nostril that slips into the fin of her nose or accents her smile, a detail missing from early Cimabue.
455:(a novel technique of Cimabue's) and the fluidity of their clothes. The red and blue colors of their clothes indicate their substance, according to Renaissance thought: a fusion of fire and air. The angels above turn their heads and sink into the third dimension.
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The heads of the angels are alternately inclined inwards or outwards, avoiding a completely profile representation, which was then reserved only for secondary or negative figures. (Giotto also broke that principle.) The angels closely resemble those in the
413:"). The gold behind the prophets, instead of flattening the painting, seems to accentuate the feeling of emptiness, which makes the prophets seem to stare out of windows or caves rather than that they are pressed against a wall.
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1288. The throne is represented from the front and not diagonally, as in all the other
Cimabue Maestàs. The passage of the diagonal representation to one that is frontal is seen in the Assisi frescoes. There, only in the
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In a striking composition, the throne creates a stage with the wide opening in its base through which four prophets are depicted in half bust view. They are recognizable by their cartouchesm which contain verses from the
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and transferred to a side chapel of the church, since it was less respected than the newer
Renaissance paintings. Over the years, it was eventually relegated to the infirmary of the monastery. With the reconsideration of
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the two additions and creating an appropriately styled point for the painting, which is still present. A second restoration was completed by Marcucci in 1947–1948 and a third by Alfio Del Serra in 1993.
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Composed and solemn, Abraham and David in the center below the throne recall that Jesus descended from their lineage. The Christian meaning of the work, well-fitted to a church dedicated to the
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and the palette of Giotto himself. In that, Cimabue seems to recreate features of his earlier work, which made him famous but now make him seem outdated compared to his contemporaries.
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below, to the clear, lively colors of down feathers that grow darker the higher they are. This palette use seems like the end of the evolution that started with the
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The figures are more expanded than Cimabue's earlier work, giving greater realism. The folds in clothing are no longer rigid and tight, as in the
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suggest the fluid touch of light on the Madonna's mantle and the clothing of Jesus. And the facial chiarascuro creates more effective contrast.
693:. The second detail is the nose bridge that is straight instead of hooked, as in the earlier Maestàs, including those in Assisi. Finally, the
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Although there are not documents to attest to a specific date, the work is placed by recent critics in the mature phase of Cimabue, between
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architectural mass embellished with carvings and marquetry. This central perspective, used by the mature Cimabue, was taken up again by
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in 1288 and the Assisi frescoes that ended in 1292, when Cimabue returned to Tuscany, seems reasonable for this
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Despite these improvements, there is a certain resistance to the stylistic innovations and techniques of
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at the time, or a member of another religious order that intended the painting for another destination.
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The commissioning client of the painting is unknown, but they could have been a member of the order of
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chiaroscuro place the work far from the Byzantine canon from which Cimabue gradually freed himself.
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with the Baby Jesus and surrounded by eight angels and, below, four half portraits of prophets.
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The Marie sitting upon the throne has a distinctly large size, greater than the more tapered
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Even the color of the angels' wings is indicative. It changes from dark colors of
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385 cm × 223 cm (152 in × 88 in)
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Creavit Dominus Novum super terram foemina circundavit viro
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619:, Marie's mantle opens over her chest to reveal the red
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49:. Unsourced material may be challenged and removed.
820:(in Italian). Milan: Istituto Editoriale Italiano.
537:1290 and 1300, on the basis of stylistic details.
218:, where it remained until 1471, it is now in the
566:1280. This transition is seen in the frescoes of
769:(in Italian). Milano: Federico Motta Editore.
667:But there three details that help locate this
472:the Virgin, the details of the blunt face and
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1049:Christ enthroned with the Virgin and St John
838:(in Italian). Firenze: Giunti. p. 110.
827:Cimabue e il momento figurative pregiottesco
568:Basilica superiore di San Francesco d'Assisi
442:Basilica inferiore di San Francesco d'Assisi
420:Detail of Abraham and David below the throne
403:De fructu ventris tuo ponam super sedem tuam
214:-1292. Originally painted for the church of
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369:, and other artists of the 14th century.
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742:Uffizi Gallery: Art, History, Collections
623:beneath, in a manner similar to the 1288
598:. A more recent, similar painting is the
109:Learn how and when to remove this message
292:, the painting passed to the Florentine
252:
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395:In semine tuo benedicentur omnes gentes
860:
836:Uffizi : arte, storia, collezioni
582:paintings by Cimabue, like the Louvre
16:13th century panel painting by Cimabue
829:(in Italian). Milan: Rizzoli Editore.
7:
1033:Nativity and Betrothal of the Virgin
47:adding citations to reliable sources
1027:Basilica of Saint Francis of Assisi
327:Basilica of Saint Francis of Assisi
1156:Paintings of the Madonna and Child
440:of Cimabue in the frescoes of the
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744:. Florence: Giunti. p. 110.
955:Virgin and Child with Two Angels
638:Virgin and Child with Two Angels
589:Virgin and Child with Two Angels
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998:Maestà of Santa Maria dei Servi
686:Christ and the Virgin Enthroned
647:Maestà of Santa Maria dei Servi
627:and differing from the others.
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34:needs additional citations for
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467:Detail of one of the angels
296:in 1810 and then on to the
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1006:(attributed; c. 1283–1284)
984:Virgin and Child Enthroned
969:The Flagellation of Christ
816:Battisti, Eugenio (1963).
729:. Rome: Scala. p. 21.
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765:Bellosi, Luciano (2004).
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1004:Castelfiorentino Madonna
853:Baldriga, Irene (2016).
1151:Paintings in the Uffizi
1112:(1853–1855 painting by
804:Uffizi collection entry
294:Galleria dell'Accademia
290:"primitive" Italian art
216:Santa Trinita, Florence
201:Maestà di Santa Trinita
1012:(c. 1290–1300, Uffizi)
834:Fossi, Gloria (2004).
825:Sindona, Enio (1975).
740:Fossi, Gloria (2014).
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432:of mystical rapture.
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348:The painting displays
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58:"Santa Trinita Maestà"
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962:The Mocking of Christ
727:Galleria degli Uffizi
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857:(in Italian). Milan.
691:Santa Trinita Maestà
617:Santa Trinita Maestà
559:Maestà of the Louvre
544:Detail of Cimabue's
486:Maestà of the Louvre
393:toward the center ("
379:Incarnation of Jesus
343:Santa Trinita Maestà
275:'s testimony in his
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196:Santa Trinita Maestà
124:Santa Trinita Maestà
43:improve this article
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946:Diptych of Devotion
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41:Please help
36:verification
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930:Santa Croce
604: [
571: [
492:Damascening
445: [
409:at right ("
333:Description
315: [
212: 1288
155: 1288
1135:Categories
923:Crucifixes
712:References
671:after the
354:Hodegetria
310:, and the
260:Procession
199:(Italian:
170:Dimensions
69:newspapers
1084:(master?)
863:cite book
621:maphorion
592:, or the
474:sfumatoed
300:in 1919.
1104:(pupil?)
635:and the
548:fresco,
515:and the
387:Jeremiah
224:Florence
186:Florence
178:Location
1098:(pupil)
1075:Related
907:Cimabue
818:Cimabue
767:Cimabue
695:aureola
453:sfumato
397:") and
391:Abraham
323:Cimabue
281:Trinitá
238:History
205:Cimabue
142:Cimabue
83:scholar
1102:Duccio
1096:Giotto
980:Maestà
935:Arezzo
842:
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706:Maestà
669:Maestà
662:Maestà
633:Maestà
625:Maestà
584:Maestà
529:Dating
507:Giotto
503:Duccio
438:Maestà
407:Isaiah
367:Duccio
363:Giotto
308:Vasari
298:Uffizi
273:Vasari
162:Medium
138:Artist
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459:Style
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399:David
385:" is
319:]
277:Lives
228:Italy
157:-1292
90:JSTOR
76:books
992:Pisa
869:link
840:ISBN
771:ISBN
746:ISBN
682:apse
645:and
552:1288
505:and
193:The
148:Year
62:news
982:or
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611:of
577:of
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222:of
45:by
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