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36-543: Duccio may be considered the "father of Sienese painting". The brothers Pietro and Ambrogio Lorenzetti were "responsible for a crucial development in Sienese art, moving from the tradition inherited from Duccio towards a Gothic style , incorporating the innovations in Florence introduced by Giotto and Arnolfo di Cambio ". "Sienese art flourished even when Siena itself had begun to decline economically and politically. And while

72-761: A Flagellation ( Frick Collection ), mosaics for the Baptistery of Florence (now largely restored), the Maestà at the Santa Maria dei Servi in Bologna and the Madonna in the Pinacoteca of Castelfiorentino . A workshop painting, perhaps assignable to a slightly later period, is the Maestà with Saints Francis and Dominic now in the Uffizi . During the pontificate of Pope Nicholas IV ,

108-494: A Byzantine master. Little is known of his painting career prior to 1278, when at the age of 23 he is recorded as having painted twelve account book cases. Although Duccio was active from 1268 to about 1311 only approximately 13 of his works survive today. Of Duccio's surviving works, only two can be definitively dated. Both were major public commissions: the " Rucellai Madonna " ( Galleria degli Uffizi ), commissioned in April 1285 by

144-510: A citizen, and he became famous in his own lifetime. In the 14th century Duccio became one of the most favored and radical painters in Siena. Where Duccio studied, and with whom, is still a matter of great debate, but by analyzing his style and technique art historians have been able to limit the field. Many believe that he studied under Cimabue , while others think that maybe he had actually traveled to Constantinople himself and learned directly from

180-601: A great light eclipses a much smaller one." In Canto XI of his Purgatorio , Dante laments the quick loss of public interest in Cimabue in the face of Giotto's revolution in art. Cimabue himself does not appear in Purgatorio , but is mentioned by Oderisi, who is also repenting for his pride. The artist serves to represent the fleeting nature of fame in contrast with the Enduring God. O vanity of human powers, how briefly lasts

216-702: A group as first-generation followers, were active between about 1290 and 1320 and include the Master of Badia a Isola , the Master of Città di Castello , the Aringhieri Master, the Master of the Collazioni dei Santi Padri and the Master of San Polo in Rosso. Another group of followers, who could be termed followers of the second generation, were active between about 1300 and 1335 and include Segna di Bonaventura , Ugolino di Nerio ,

252-590: A more decorative style and rich colors, with "thinner, elegant, and courtly figures". It also has "a mystical streak...characterized by a common focus on miraculous events, with less attention to proportions, distortions of time and place, and often dreamlike coloration". Sienese painters did not paint portraits, allegories, or classical myths. Duccio Duccio di Buoninsegna ( UK : / ˈ d uː tʃ i oʊ / DOO -chee-oh , Italian: [ˈduttʃo di ˌbwɔninˈseɲɲa] ; c.  1255–1260 – c.  1318–1319 ), commonly known as just Duccio ,

288-456: A mosaic of Christ Enthroned , originally begun by Maestro Francesco , in the apse of the city's cathedral . Cimabue was to create the part of the mosaic depicting St John the Evangelist , which remains the sole surviving work documented as being by the artist. Cimabue died around 1302. According to Vasari, quoting a contemporary of Cimabue, "Cimabue of Florence was a painter who lived during

324-417: A pupil of Ugolino di Nerio : the Master of Chianciano. Some of the artists were influenced by Duccio alone to the point of creating a decided affinity or kinship between their works and his. Among them was the Master of Badia a Isola , and Ugolino di Nerio , along with Segna di Bonaventura and their sons. Other artists were influenced also by other schools, and these include the Aringhieri Master (think of

360-514: A smooth stone. He asked if Giotto would like to come and stay with him, which the child accepted with his father's permission. Vasari elaborates that during Giotto's apprenticeship, he allegedly painted a fly on the nose of a portrait Cimabue was working on; the teacher attempted to sweep the fly away several times before he understood his pupil's prank. Many scholars now discount Vasari's claim that he took Giotto as his pupil, citing earlier sources that suggest otherwise. Around 1280, Cimabue painted

396-663: Is generally regarded as one of the first great Italian painters to break from the Italo-Byzantine style. Compared with the norms of medieval art , his works have more lifelike figural proportions and a more sophisticated use of shading to suggest volume. According to Italian painter and historian Giorgio Vasari , Cimabue was the teacher of Giotto , the first great artist of the Italian Proto-Renaissance . However, many scholars today tend to discount Vasari's claim by citing earlier sources that suggest otherwise. Little

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432-520: Is known about Cimabue's early life. One source that recounts his career is Vasari's Lives of the Most Excellent Painters, Sculptors, and Architects , but its accuracy is uncertain. He was born in Florence and died in Pisa . Hayden Maginnis speculates that he could have trained in Florence under masters who were culturally connected to Byzantine art . The art historian Pietro Toesca attributed

468-612: The Crucifixion in the church of San Domenico in Arezzo to Cimabue, dating around 1270, making it the earliest known attributed work that departs from the Byzantine style. Cimabue's Christ is bent, and the clothes have the golden striations that were introduced by Coppo di Marcovaldo . Around 1272, Cimabue is documented as being present in Rome , and a little later he made another Crucifix for

504-496: The Maestà , originally displayed in the church of San Francesco at Pisa , but now at the Louvre . This work established a style that was followed subsequently by numerous artists, including Duccio di Buoninsegna in his Rucellai Madonna (in the past, wrongly attributed to Cimabue) as well as Giotto. Other works from the period, which were said to have heavily influenced Giotto, include

540-638: The 16th century the Mannerists Beccafumi and Il Sodoma worked there. While Baldassare Peruzzi was born and trained in Siena, his major works and style reflect his long career in Rome. The economic and political decline of Siena by the 16th century, and its eventual subjugation by Florence, largely checked the development of Sienese painting, although it also meant that a good proportion of Sienese works in churches and public buildings were not discarded or destroyed. Unlike Florentine art , Sienese art opted for

576-592: The Compagnia del Laudesi di Maria Vergine for a chapel in Santa Maria Novella in Florence ; and the Maestà commissioned for the high altar of Siena Cathedral in 1308, which Duccio completed by June 1311. Duccio's known works are on wood panel , painted in egg tempera and embellished with gold leaf . Differently from his contemporaries and artists before him, Duccio was a master of tempera and managed to conquer

612-466: The Florentine church of Santa Croce . Now restored, having been damaged by the 1966 Arno River flood , the work was larger and more advanced than the one in Arezzo , with traces of naturalism perhaps inspired by the works of Nicola Pisano . According to Vasari, Cimabue, while travelling from Florence to Vespignano, came upon the 10-year-old Giotto (c. 1277) drawing his sheep with a rough rock upon

648-625: The Master of the Gondi Maestà, the Master of Monte Oliveto and the Master of Monterotondo. It should, however, be said that Segna di Bonaventura was already active prior to 1300 and so he overlaps as to period both the first and second generation of followers. A third group followed Duccio only several years after his death, which shows the impact his painting had on Siena and on Tuscany as a whole. The artists of this third group, active between about 1330 and 1350, include Segna di Bonaventura 's sons, that is, Niccolò di Segna and Francesco di Segna, and

684-513: The Sienese Gothic style . Although much is still unconfirmed about Duccio and his life, there is more documentation of him and his life than of other Italian painters of his time. It is known that he was born and died in the city of Siena , and was also mostly active in the surrounding region of Tuscany . Other details of his early life and family are as uncertain, as much else in his history. One avenue to reconstructing Duccio's biography are

720-516: The artist. The Maestà of Santa Trinita , dated to c. 1290–1300, which was originally painted for the church of Santa Trinita in Florence , is now in the Uffizi Gallery . The softer expression of the characters suggests that it was influenced by Giotto, who was by then already active as a painter. Cimabue spent the last period of his life, 1301 to 1302, in Pisa. There, he was commissioned to finish

756-487: The artists of 15th-century Siena did not enjoy the widespread patronage and respect that their 14th-century ancestors had received, the paintings and illuminated manuscripts they produced form one of the undervalued treasures in the bounty of Italian art." In the late 15th century, Siena "finally succumbed" to the Florentine school 's teachings on perspective and naturalistic representation, absorbing its "humanist culture". In

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792-533: The author's own time, a nobler man than anyone knew but he was as a result so haughty and proud that if someone pointed out to him any mistake or defect in his work, or if he had noted any himself... he would immediately destroy the work, no matter how precious it might be." The nickname Cimabue translates as "bull-head" but also possibly as "one who crushes the views of others", from the Italian verb cimare , meaning "to top", "to shear", and "to blunt". The conclusion for

828-453: The brothers Ambrogio and Pietro Lorenzetti . In the course of his life, Duccio had many pupils even if it is not known if they were true pupils who were formed and matured artistically within his workshop, or they were simply painters who imitated his style. Many of the artists are anonymous, and their connection to Duccio has emerged only from analysis of a body of work with common stylistic traits. The first pupils, who can be referred to as

864-400: The crowning green of glory, unless an age of darkness follows! In painting Cimabue thought he held the field but now it's Giotto has the cry, so that the other's fame is dimmed. On 27 October 2019, The Mocking of Christ , was sold for €24m (£20m; $ 26.6m), a price the auctioneers described as a new world record for a medieval painting. The picture had been located in the kitchen of

900-466: The era. . The exhibit was judged “the must-see art show of the season.” [REDACTED] Media related to Paintings by Duccio di Buoninsegna at Wikimedia Commons Cimabue Giovanni Cimabue ( Italian: [tʃimaˈbuːe] ), c.  1240 – 1302, was an Italian painter and designer of mosaics from Florence . He was also known as Cenni di Pepo or Cenni di Pepi. Although heavily influenced by Byzantine models, Cimabue

936-437: The figures underneath the heavy drapery; hands, faces, and feet became more rounded and three-dimensional. Duccio's paintings are inviting and warm with color. His pieces consisted of many delicate details and were sometimes inlaid with jewels or ornamental fabrics. Duccio was also noted for his complex organization of space. He organized his characters specifically and purposefully. In his " Rucellai Madonna " ( c.  1285 )

972-513: The first Franciscan pope, Cimabue worked in Assisi . At Assisi, in the transept of the Lower Basilica of San Francesco , he created a fresco named Madonna with Child Enthroned, Four Angels and St Francis . The left portion of this fresco is lost, but it may have shown St Anthony of Padua (the authorship of the painting has been recently disputed for technical and stylistic reasons). Cimabue

1008-648: The massive volumes of Giotto ), and the Master of the Gondi Maestà (who shows the influence also of Simone Martini ). The case of Simone Martini and Pietro Lorenzetti is somewhat different. Both artists painted works that have affinities with Duccio: for Simone from about 1305, and Pietro from about 1310 onwards. However, from the outset their work showed distinctive individual features, as can be seen in Simone's Madonna and Child no. 583 (1305–1310) and in Pietro's Orsini Triptych , painted at Assisi (about 1310–1315). Later

1044-419: The medium with delicacy and precision. There is no clear evidence that Duccio painted frescoes . Duccio's style was similar to Byzantine art in some ways, with its gold backgrounds and familiar religious scenes; however, it was also different and more experimental. Duccio began to break down the sharp lines of Byzantine art, and soften the figures. He used modeling (playing with light and dark colors) to reveal

1080-488: The second meaning is drawn from similar commentaries on Dante, who was also known "for being contemptuous of criticism". History has long regarded Cimabue as the last of an era that was overshadowed by the Italian Renaissance . As early as 1543, Vasari wrote of Cimabue, "Cimabue was, in one sense, the principal cause of the renewal of painting," with the qualification that, "Giotto truly eclipsed Cimabue's fame just as

1116-462: The traces of him in archives that list when he ran up debts or incurred fines. Some records say he was married with seven children. The relative abundance of archival mentions has led historians to believe that he had difficulties managing his life and his money. Due to his debts, Duccio's family dissociated themselves from him after his death. Another route to filling in Duccio's biography is by analyzing

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1152-546: The two developed styles with completely independent characteristics such that they acquired an artistic standing that elevates them well beyond being labelled simply as followers of Duccio. Many of Duccio’s surviving paintings were displayed in the 2024-25 exhibit Siena: The Rise of Painting, 1300–1350 at the Metropolitan Museum of Art and National Gallery London , alongside those of brothers Pietro and Ambrogio Lorenzetti , Simone Martini , and other Sienese masters of

1188-733: The viewer can see all of these qualities at play. Duccio was also one of the first painters to put figures in architectural settings, as he began to explore and investigate depth and space. He also had a refined attention to emotion not seen in other painters at this time. The characters interact tenderly with each other; it is no longer Christ and the Virgin, it is mother and child. He flirts with naturalism, but his paintings are still awe inspiring. Duccio's figures seem to be otherworldly or heavenly, consisting of beautiful colors, soft hair, gracefulness and fabrics not available to mere humans. He influenced many other painters, most notably Simone Martini , and

1224-411: The works that can be attributed to him with certainty. Information can be obtained by analyzing his style, the date and location of the works, and more. Due to gaps where Duccio's name goes unmentioned in the Sienese records for years at a time, scholars speculate he may have traveled to Paris , Assisi and Rome . Nevertheless, his artistic talents were enough to overshadow his lack of organization as

1260-568: Was an Italian painter active in Siena , Tuscany , in the late 13th and early 14th century. He was hired throughout his life to complete many important works in government and religious buildings around Italy. Duccio is considered one of the greatest Italian painters of the Middle Ages , and is credited with creating the painting styles of Trecento and the Sienese school . He also contributed significantly to

1296-561: Was subsequently commissioned to decorate the apse and the transept of the Upper Basilica of Assisi, in the same period of time that Roman artists were decorating the nave . The cycle he created there comprises scenes from the Gospels , the lives of the Virgin Mary , St Peter and St Paul . The paintings are now in poor condition because of oxidation of the brighter colours that were used by

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