Cimabue, Giovanni (Cimabue) (1240 – 1302) – Florentine painter, one of the major regenerators of Italian painting after a long stagnation of medieval, came from a wealthy and distinguished family Gvaltern Charles, was born, according to Vasari, in 1240, he worked in Florence and in the adjacent field, and died probably in 1302, before its time Painting in Italy has remained frozen in the shackles of the Byzantine style, repeating the same from of old-established types of images, observed the same convention in a drawing, color and technical methods, ignoring the observation of nature and not giving artists an opportunity to show their personal sense. However, before the hour and at the same time with some Tuscan painters sought not to break the link of his work with Byzantine traditions, making it the novelty, beauty and freedom, but their efforts were timid and insignificant in comparison with those made by the master. In his first icons of the Virgin Mary, one of which, formerly in the Florentine church of S. Trinita, is now in Tarabya Academy, Charles is still quite the Byzantines, but was soon in his works the old, traditional songs and the figures became more lively, attractive and majestic . and paint a fresh, graceful and natural. That was enough to excite in the artist's contemporary enthusiasm for his work. It is said that Madonna, which he composed for the Chapel Rucellai in the Church of S. Maria Novella (where she is now), while still not quite finished, so famous that Charles of Anjou, during his stay in Florence, and wished to see it extraordinary work and visited the studio to Charles, and then it was (in 1267) at a crowded gathering of people solemnly transferred to the said church, in memory of what that part of it through which the procession passed, was called Borgo Allegro. Lady in the image presented on a gold background, sitting on a throne with a luxurious MladentsemHristom lap, six kneeling angels placed the throne, three on each side, one above the other. Face of the Madonna is of Byzantine type, with a thin, long nose, almond-shaped eyes, high eyebrows and small mouth, but these features have discerned an expression of gentleness and tenderness. A baby's face – such as Teen, like all the icons of all time, but in this he could see movement motif noted by the artist in nature. The overall composition of solemn, is not devoid of grace, and angels can be even included the creation of high beauty. Simple and bright colors are close to the bodily parts to natural colors, and the whole machinery of painting is much better then Byzantine. The other two remarkable Madonna Ch are in the Louvre Museum in Paris and in London's National Gallery: the first originating from the Church of S. Francesco at Pisa is surrounded by a frame with medallions, which were written image 24 saints, the second representing the Virgin in the floor figure, originally belonged to the Florentine church of S. Croce. Several earlier than was performed Madonna Rucellai, Ch worked together with other artists. on the decoration of frescoes of the upper and the lower church of the monastery of St.. Francis of Assisi, but with the exception of the Madonna with four angels, written clearly in the bottom of churches, now it is difficult to decide which from thence, frescoes belong to him, judging by the style. performance can be attributed to him more than all the rest "kiss of Judas" and "The situation in the coffin", unfortunately, affected to such an extent that their content is barely discernible. At the end of his life Charles was engaged in the production of Pisa cathedral apse mosaic depicting the Savior with the forthcoming He Virgin and John the Baptist, but managed to finish only two of these figures: a third, the figure of the Blessed Virgin, performed later (in 1321) pistoytsem Vitsinusom. Out of school went great Ch Giotto made his Italian paintings on the road to recovery even further than he. – Avg. Strzygowski, "Cimabue und Rom" (Vienna, 1888).
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