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The "Madonna Enthroned" is an altarpiece painting done by one of the most famous Italian painters Cimabue (1240-1302.) Cimabue was a Florentine painter in the second half of the 13th century and the early years of the 14th century. <!--more-->Although none of his paintings are signed and few are still in tact, his activity in the Basilica of S. Francesco in Assisi is documented in 1280/1290. Cimabue studied with some of the Greek Masters in St. Maria Novella and was involved in the Neo-Hellenistic movement of the Paleo Organ Renaissance. His training was not exclusively Byzantine, although he lived and learned during this time period. The "Madonna Enthroned" was an altarpiece painted in or around 1285. This piece was the largest in its class of paintings at the time. The "Madonna Enthroned" was a forerunner of the Renaissance style paintings. It is said to have an "otherworldly appearance" with its network of gold lines on and around the Madonna. The figures in the “Madonna Enthroned” are flat and almost transparent as gold "swims" through them (World Book, 583.) This painting was done as an altarpiece using egg tempera on wood and is 12ft 7.5 inches by 7 ft 4 inches . Cimabue was a patriarch of Italian painting, only five or six of his originals are left today. The "Madonna Enthroned" was picked to live in the Uffizi Gallery in Florence, Italy. Cimabue's religious Frescos are still housed in the Church of Saint Frances in Italy. Cimabue influenced many painters during and after his time period to shift their techniques and follow the trends of the everchanging artistic world. Cimabue used techniques common in the Byzantine tradition while moving towards a Naturalist and Renaissance style. His spatial depth in the “Madonna Enthroned” created a three-demensional effect uncommon during this time period. Cimabue added a dramatic effect to all of his paintings and changed the art world not only in Italy, but worldwide.

Italian art in the late 13th and 14th centuries differ fundamentally from that  of other countries whose artists usually remained anonymous. In Italy, however, there were numerous Italian painters and sculptors who were known by name to the public and were documented for their works. Each of these artists held a "body of firmly attributed works" (Art, 85.) In this time period, Italy was not unified and was made of a large number of states. Italy was more urbanized than many other European countries at the time. Major cities in Europe competed with major cities in Italy with the artistic patronage in Italy. The higher-ups in Italy wanted the churches and local buildings to be bigger and better than the rest of Europe, and wanted them decorated and painted by the BEST artists around. Religion was a major factor of inspiration to all artists during this time. Altarpieces and Frescos dominated the artistic world along with painting and sculptures, usually centered around pulpits and statues of saints. These painting all were housed either inside a church or in a civic building or town hall. The styles of this time period endured for centuries to come. The most popular type of art was made with tempera (wooden panels painted with colors mixed with egg) later called "egg  tempera." The second most popular was called a Fresco, a wall painting that was applied to fresh, damp plaster. Many artist of this time were masters of both of these techniques. Sculpture usually consisted of marble and bronze sometimes gilded with soft layers of gold (this was expensive, so it  wasn't near as easy to find.) The people who had money to pay artists for the contributions were the churches. The only documented payment made to Cimabue was for his St. John mosaic in the main apse of the Pisa Cathedral in Italy. Most of Cimabue's work was done inside churches throughout Europe. His earliest work was the "Crucifix" in S. Domenico, Arrezo painted inside a church.  During this time, art had many influences. The gothic style dominated in Europe. Constantinople was captured by crusaders in 1204 which increased contact between Italian and Byzantine art. Later Byzantine art was "softened by naturalism and humanity looking forward to the Renaissance" (Art, 84.)  Cimabue was a master of both egg tempera, frescos and mosaics and his artwork centered around secular subjects adding "tender humanity" to each of his pieces (Art, 85.)

The "Madonna Enthroned" is an example of Medieval art with influences of the Byzantine and Gothic era leading up to the Renaissance style of painting. Some of the most stunning pieces of art from this era is in the form of altarpieces installed in churches in honor of one of the saints or the Virgin Mary (Madonna.)  Typical altarpieces were done on one or more wooden panels  coated in a white chalky plaster or "gesso" with tempera, which produced dull, flat colors. The altarpiece was then decorated with gold leaf that would reflect the candles lit in the altar for a more dramatic effect (Fiero, 13.34.) Cimabue's altarpiece the "Madonna Enthroned" used these techniques. His piece showed a scene of the Madonna and her child elevated on a large seat that is a throne and a tower. Angels are all around her and beneath her feet are four Hebrew prophets holding scrolls. The Madonna is centered in the piece and is significantly larger than the rest of the people in the picture, showing her importance. "Such hierarchic grading, while typical of Medieval art, also characterized Egyptian and Byzantine compositions" (Fiero, 13.)  Cimabue's devotional altar piece is lavish and elegant. It's lines are sharp and the metallic detail on the Virgin's dark blue drapery sets off the sharp wings of the angels and the distinct features of Christ and the decorative throne. The Virgin has a little more character in her face than what was usual at the time, but like most Byzantine art- all of the faces of the saints, Christ and angels looking similar. Cimabue used egg tempera on wood because it was stable and durable and the colors remained strong through time. The colors are added to the mixed with the solution and applied to the wood. This solution dries quickly so Cimabue (or any artist) could not mix color on the actual Fresco.

Cimabue was one the most well-recognized painters in all of Italy. Unlike most European countries, artists in Italy were well-recognized, and their work was attributed to the specific artist. Cimabue was asked to work in numerous churches, and he was paid for his artistic talent.  His nickname was "Ox-Head" or "Bull-Head"  or "one who crushes view of others" due to his aggressive personality. He is said to be one of the "most dramatic artist influenced by contemporary Byzantine Painting" (World Book, 583.) Today, artist and art lovers hold Cimabue at a very high standard. His artwork put a new style into motion. His students, Giotto and Duccio, who he worked with around 1280, worked together to create new art styles and change the art world around them. Personally, I love the artwork by Cimabue. I chose this topic originally because it is simply stunning. I am never particularly moved by secular pieces of art, but "The Madonna Enthroned" has such a genuine feel to it. The colors are beautiful  but muted and I love the use of gold Cimabue puts into his paintings. I like his combination of Classical, Medieval and Byzantine styles of artwork. I love that the faces have no expression, and that his students, like Giotto, really took his ideas and changed them up. He inspired people to create artwork and to combine artistic knowledge with secular knowledge. Giotto took what he learned from Cimabue and created an entirely new, more Renaissance-inspired style of emotion to his pieces. I like that "The Madonna Enthroned" as well as many other pieces of Cimabue's was used inside churches as decoration to really inspire spiritual connections and faith. This piece of artwork has so much history, and was made so long ago, but still holds such value in today's historical and artistic world. During his time working at St. Francis of Assisi, Cimabue employed numerous assistants and major arists with distinct stlyes. Cimabue worked with  Duccio around 1280 to design a window in the Siena Cathedral in central Italy. Cimabue worked on many other pieces during his time, including Cruicifixes made with egg tempera on  a panel that employed Vitruvius’s homo quadratus schemes (where Christ’s head is equal to the width of his arms outstretched).

Giotto Di Bondone is another famous Florentine painter and architect who lived during Cimabue’s time period, and was said to have been mentored by Cimabue himself. Giotto took Cimabue’s Byzantine traditional style and molded it into his own style, thus leaning towards a naturalist approach. He took flat surface paintings and gave them a three-dimensional look. Giotto used devices that had been forgotten since the Classical Greek world. He added human emotion to his artwork, and told a story with “human pathos and drama” (Art, 84.) Giotto, like Cimabue, was famous throughout Europe and Italy and was sought after by many people. Italian art was never the same after Giotto brought his beautiful Frescos to life. In the “Lamentation of Christ” by Giotto, the Byzantine symbolism of “emotion and suffering” is portrayed in the figures face’s in the painting. Giotto uses composition to bring life to the scene where Christ’s mother and followers mourn his dead body. All of the figures in the scene thrust downward toward Christ and John the Baptists arms lunge backwards to draw attention to the lifeless body. In the background sits a single tree (a medieval symbol of death) and angels fly above the earthbound figures. Each of the figures have unique faces and characteristics. Although all of the people in the picture have a similar griefstruck look, they still have individual emotions. The earthbound figures are still in grief and the angles above them move freely in the sky, maintaining a constant focus on Christ. Unlike Giotto, Cimabue’s figures were lifeless and lacked emotion. Like the Byzantine tradition, all of the faces (Christ, the Virgin, the Saints) all looked almost identical in age and emotion. Giotto set himself apart from Cimabue by leaning towards a humanist/Renaissance approach to emotion and storytelling in his artwork. Cimabue’s paintings, like the “Madonna Enthroned” are touching and meaningful, but the figures in the works lack emotion themselves. Giotto’s artwork is easier to relate to and helps a viewer dive deeper into what the painting is trying to say. Giotto took Cimabue’s techniques and enhanced them in a way that’s easier for a viewer to connect with.

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For future generations it is important to know the Cimabue was one of the first famous artists of his time. His artistic style was so innovative and precise that he made many other artist create new styles, and inspired them to use his techniques. He studied classical Greek artwork, and was trained by  "The Greek Masters" at the Saint Maria Novella. Cimabue was a trained artist and worked hard at his hobby. He was paid for his work, and people felt privileged to work with him and view his incredible masterpieces. Cimabue inspired artist like Giotto to further their career and change the artistic world as we know it. Cimabue used the current artistic styles of his time and molded them into his style and created masterpieces. His art was a forerunner to Renaissance style art and was one of the first in his time to step outside the box and go against the grain, which ultimately made him stand out and live on as a legacy in the artistic world.

Works Cited

Art: 2,500 Works, Cave to Contemporary. DK Publishing, New York 2008. Pg 85. Print.

Enclyclopedia of World Art Vol  III. Calder- Cosmology. Mcgraw- Hill Book,  London. 1960. Pg 614-619. Print.

Fiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.

Matthews, Thomas F. “Byzantium: From Antiquity to the Renaissance.” Calman &amp; King Ltd, New York, 1998. Print.

Turner, Jane. Dictionary of Art. Vol  7.  China V III to Cassa. 1996, Macmillian publishing, NY. Pg 315-318.  Print.

World Book. Vol 4. Edition Ci-Cz. Chicago, 1999. Pg 553. Print