"Cimabue" Quotes from Famous Books
 ... concerns pictures painted upon panel or canvas in tempera or oils, the history of painting begins with Cimabue, who worked in Florence during the latter half of the thirteenth century. That the art was practised in much earlier times may readily be admitted, and the life-like portraits in the vestibule at the National Gallery taken from Greek tombs of the second or third century are sufficient proofs of ...
— Six Centuries of Painting • Randall Davies
... silks in pauses of the mass, To keep the thought off how her husband fell, When she left home, stark dead across her feet,— The stair leads up to what the Orgagnas save Of Dante's daemons; you, in passing it, Ascend the right stair from the farther nave To muse in a small chapel scarcely lit By Cimabue's Virgin. Bright and brave, That picture was accounted, mark, of old: A king stood bare before its sovran grace,[7] A reverent people shouted to behold The picture, not the king, and even the place Containing such a miracle grew bold, Named the Glad Borgo from that beauteous ...
— The Poetical Works of Elizabeth Barrett Browning, Volume IV • Elizabeth Barrett Browning
... Wehnert, and worked hard. I had brought my "Bed of Ferns," a large study from nature on Saranac Lake, and one or two smaller studies. I had visits from Dante Rossetti, Leighton (then in all the glory of his Cimabue picture, and in the promise of even a greater career than he finally attained), Millais, Val Prinsep, and Boyce. I had brought letters from Lowell to Tom Hughes, from Norton to Arthur Hugh Clough, from Agassiz to Professor Owen. Hughes introduced me to the Cosmopolitan Club, ...
— The Autobiography of a Journalist, Volume I • Stillman, William James
... the forfeiture is paid. Nor were I even here; if, able still To sin, I had not turn'd me unto God. O powers of man! how vain your glory, nipp'd E'en in its height of verdure, if an age Less bright succeed not! Cimabue thought To lord it over painting's field; and now The cry is Giotto's, and his name eclips'd. Thus hath one Guido from the other snatch'd The letter'd prize: and he perhaps is born, Who shall drive either from their nest. ...
— The Divine Comedy • Dante
... something dreamy, ambiguous, almost epicene. Mr. Heard had not quite lost his old British instinct as to the fundamental uselessness of all art. A young fellow who, instead of taking up some rational profession, talked about Cimabue and Jacopo Bellini . . . there was something not quite right with him. Jacopo Bellini! But even while thinking what to reply, he was conscious of having undergone a slight change of feeling lately. He was growing more tolerant and benign, even in ...
— South Wind • Norman Douglas
... opening of the fourteenth century—the few years, that is, of its highest glory in freedom, in letters, in art. Never since the days of Pericles had such a varied outburst of human energy been summed up in so short a space. Architecture reared the noble monuments of the Duomo and Santa Croce. Cimabue revolutionized painting, and then "the cry was Giotto's." Italian poetry, preluded by the canzonets of Guido Cavalcanti and his rivals, rose to its fullest grandeur in the 'Commedia' of Dante. Italian prose was born in the works of Malaspina and Dino. Within, the Florentines worked out patiently ...
— Stray Studies from England and Italy • John Richard Green
... an earlier time, when good pictures had still seemed miraculous. For two days a crowd of people of all qualities passed in naive excitement through the chamber where it hung, and gave Leonardo a taste of the "triumph" of Cimabue. But his work was less with the saints than with the living women of Florence. For he lived still in the polished society that he loved, and in the houses of Florence, left perhaps a little subject to light thoughts by the death of Savonarola—the latest gossip (1869) is of an ...
— The Renaissance: Studies in Art and Poetry • Walter Horatio Pater
... words and verses of the Dantesque Commedia, must produce a very different impression on a citizen engaged in the politics of the third Rome, to that experienced by a well-informed and intimate contemporary of the poet. The Madonna of Cimabue is still in the Church of Santa Maria Novella; but does she speak to the visitor of to-day as she spoke to the Florentines of the thirteenth century? Even though she were not also darkened by time, would not the impression be altogether different? And finally, how can a poem composed in youth make ...
— Aesthetic as Science of Expression and General Linguistic • Benedetto Croce |
