CIMABUE (Cenni di Pepo) ( v. 1240-av. 1302 )

CIMABUE (Cenni di Pepo) ( v. 1240-av. 1302 )

ISNI:0000000122424267 Getty:500016284

Quotation

Traveller,
            There remained in Græce some little footsteps of the Art [ndr : au Moyen Âge] ; and from thence it was, that about the Year 1250, there came some Painters, who could hardly be called Masters, having scarce any more knowledge of the Art than just to draw the Out-lines without either Grace or Proportion ; the first Schollar they made in Italy, was at Florence, and was called Cimabue ; who being helped by Nature, soon outdid his Masters, and began to give some strength to his Drawings, but still without any great Skill, as not understanding how to manage his Lights and Shadows, or indeed, how to Design truely ; it being it those days an unusual and unattempted thing to Draw after the
Life.

Quotation

Traveller,
            There remained in Græce some little footsteps of the Art [ndr : au Moyen Âge] ; and from thence it was, that about the Year 1250, there came some Painters, who could hardly be called Masters, having scarce any more knowledge of the Art than just to draw the Out-lines without either Grace or Proportion ; the first Schollar they made in Italy, was at Florence, and was called Cimabue ; who being helped by Nature, soon outdid his Masters, and began to give some strength to his Drawings, but still without any great Skill, as not understanding how to manage his Lights and Shadows, or indeed, how to Design truely ; it being it those days an unusual and unattempted thing to Draw after the
Life.

Quotation

Traveller,
            There remained in Græce some little footsteps of the Art [ndr : au Moyen Âge] ; and from thence it was, that about the Year 1250, there came some Painters, who could hardly be called Masters, having scarce any more knowledge of the Art than just to draw the Out-lines without either Grace or Proportion ; the first Schollar they made in Italy, was at Florence, and was called Cimabue ; who being helped by Nature, soon outdid his Masters, and began to give some strength to his Drawings, but still without any great Skill, as not understanding how to manage his Lights and Shadows, or indeed, how to Design truely ; it being it those days an unusual and unattempted thing to Draw after the
Life.

Quotation

Traveller,
            There remained in Græce some little footsteps of the Art [ndr : au Moyen Âge] ; and from thence it was, that about the Year 1250, there came some Painters, who could hardly be called Masters, having scarce any more knowledge of the Art than just to draw the Out-lines without either Grace or Proportion ; the first Schollar they made in Italy, was at Florence, and was called Cimabue ; who being helped by Nature, soon outdid his Masters, and began to give some strength to his Drawings, but still without any great Skill, as not understanding how to manage his Lights and Shadows, or indeed, how to Design truely ; it being it those days an unusual and unattempted thing to Draw after the
Life.

Quotation

Traveller,
            There remained in Græce some little footsteps of the Art [ndr : au Moyen Âge] ; and from thence it was, that about the Year 1250, there came some Painters, who could hardly be called Masters, having scarce any more knowledge of the Art than just to draw the Out-lines without either Grace or Proportion ; the first Schollar they made in Italy, was at Florence, and was called Cimabue ; who being helped by Nature, soon outdid his Masters, and began to give some strength to his Drawings, but still without any great Skill, as not understanding how to manage his Lights and Shadows, or indeed, how to Design truely ; it being it those days an unusual and unattempted thing to Draw after the
Life.

Quotation

Dergleichen Unterschiedlichkeit [ndr: im gerecht-mahlen] ware auch und ist noch bey den Italiänern/ Hoch-und Nieder-Teutschen zu finden/ und zwar mit größerer Vollkommenheit/ sonderlich im gerecht-mahlen/ und darzu gehörenden Kräften der Farben: welches aus der natürlichen applicirung/ vollkommenen Erhebung und sonderbaren Geschwindigkeit der Mahler von unsern Zeiten abzunehmen. {Die alte und neue Italiäner.} Solche waren/ Cimabue der große Wieder-Erfinder dieser Kunst/ Gaddo sein Nachfolger/ und Giotto. Also waren fürtreflich/ Giovan Bellini, in Sauberkeit; Michaël Angelo in Bildern und hohem Verstand; Leonardo da Vinci, in vernünftigen affecten; Andrea del Sarto, in Angenemheit; Raphaël d'Urbino in meisterlicher invention ; Julius Romanus, in ungemeinen Gedanken;Titian, in Anmutigkeit/ sonderlich der Coloriten; Corregio , in gratiositeten; Verones in reichen Gedanken; Tintoreti, in Seltsamkeit; Carazo, in fresco; Caravaggio und Manfredo , in Lebhaftigkeit ; Guido Bolognse in Holdseligkeit; Albano in zierlicher invention; Bernini Bernini in der Bild- und Bau Kunst; Francisco du Quesnoy, in scultur-Warheit; Algardon,in Geschicklichkeit; Peter Corton in fresco; La Franch in Geschwindigkeit; Domenicho in Tieffsinnigkeit; Claudio Gilli in Landschaften.
{Die alte Hoch-Teutschen} Nächst diesen/ machten sich auch verwunderbar unsere Teutschen: als Martin Schön/ im hochsteigen; Matthias von Aschaffenburg/ in zierlichem Geist; Albrecht Dürer/ im universal-Verstand; Hans Holbein/ in glückseliger Hand; Amberger/ in der Warheit; Pocksberger/ im Geistreichtum; Schwarz/ in Erfahrenheit; Adam Elzheimer/ in verwunderlichem Verstand.
{und Nieder-Teutschen} Gleichfalls waren fürberühmt die Niederländer/ in Erfindung der Oelfarben/ Johann und Hubert von Eyk; Lucas von Leyden/ im Fleiß; der alte Bruegel, im Verstand; also auch Sotte Clef und Johann von Calcar/ in der Hand; Floris, in der Meisterschaft; Brauer/ in bildung der Bauren; Fochiers, in Landschaft-Bäumen; Rubens in Geistreichheit; der von Dick/ in Zierlichkeit; Hundhorst in Wolgemälden; Rembrand/ in Arbeitsamkeit; Perselles in Schiffahrten und Wassern; Pulenburg/ in kleinen Bildlein; Bambotio, in Bildung der Bettler ; Botte, in Landschaften; auch der Gerhart Daro und, Mires hoch-preiswürdig in kleinen Oelfarben.
{Von des Autoris [ndr: Joachim von Sandrart ] Werken/ in dieser Kunst.} […]

Quotation

Dergleichen Unterschiedlichkeit [ndr: im gerecht-mahlen] ware auch und ist noch bey den Italiänern/ Hoch-und Nieder-Teutschen zu finden/ und zwar mit größerer Vollkommenheit/ sonderlich im gerecht-mahlen/ und darzu gehörenden Kräften der Farben: welches aus der natürlichen applicirung/ vollkommenen Erhebung und sonderbaren Geschwindigkeit der Mahler von unsern Zeiten abzunehmen. {Die alte und neue Italiäner.} Solche waren/ Cimabue der große Wieder-Erfinder dieser Kunst/ Gaddo sein Nachfolger/ und Giotto. Also waren fürtreflich/ Giovan Bellini, in Sauberkeit; Michaël Angelo in Bildern und hohem Verstand; Leonardo da Vinci, in vernünftigen affecten; Andrea del Sarto, in Angenemheit; Raphaël d'Urbino in meisterlicher invention ; Julius Romanus, in ungemeinen Gedanken;Titian, in Anmutigkeit/ sonderlich der Coloriten; Corregio , in gratiositeten; Verones in reichen Gedanken; Tintoreti, in Seltsamkeit; Carazo, in fresco; Caravaggio und Manfredo , in Lebhaftigkeit ; Guido Bolognse in Holdseligkeit; Albano in zierlicher invention; Bernini Bernini in der Bild- und Bau Kunst; Francisco du Quesnoy, in scultur-Warheit; Algardon,in Geschicklichkeit; Peter Corton in fresco; La Franch in Geschwindigkeit; Domenicho in Tieffsinnigkeit; Claudio Gilli in Landschaften.
{Die alte Hoch-Teutschen} Nächst diesen/ machten sich auch verwunderbar unsere Teutschen: als Martin Schön/ im hochsteigen; Matthias von Aschaffenburg/ in zierlichem Geist; Albrecht Dürer/ im universal-Verstand; Hans Holbein/ in glückseliger Hand; Amberger/ in der Warheit; Pocksberger/ im Geistreichtum; Schwarz/ in Erfahrenheit; Adam Elzheimer/ in verwunderlichem Verstand.
{und Nieder-Teutschen} Gleichfalls waren fürberühmt die Niederländer/ in Erfindung der Oelfarben/ Johann und Hubert von Eyk; Lucas von Leyden/ im Fleiß; der alte Bruegel, im Verstand; also auch Sotte Clef und Johann von Calcar/ in der Hand; Floris, in der Meisterschaft; Brauer/ in bildung der Bauren; Fochiers, in Landschaft-Bäumen; Rubens in Geistreichheit; der von Dick/ in Zierlichkeit; Hundhorst in Wolgemälden; Rembrand/ in Arbeitsamkeit; Perselles in Schiffahrten und Wassern; Pulenburg/ in kleinen Bildlein; Bambotio, in Bildung der Bettler ; Botte, in Landschaften; auch der Gerhart Daro und, Mires hoch-preiswürdig in kleinen Oelfarben.
{Von des Autoris [ndr: Joachim von Sandrart ] Werken/ in dieser Kunst.} […]

Quotation

Traveller,
            There remained in Græce some little footsteps of the Art [ndr : au Moyen Âge] ; and from thence it was, that about the Year 1250, there came some Painters, who could hardly be called Masters, having scarce any more knowledge of the Art than just to draw the Out-lines without either Grace or Proportion ; the first Schollar they made in Italy, was at Florence, and was called Cimabue ; who being helped by Nature, soon outdid his Masters, and began to give some strength to his Drawings, but still without any great Skill, as not understanding how to manage his Lights and Shadows, or indeed, how to Design truely ; it being it those days an unusual and unattempted thing to Draw after the
Life.

Quotation

Traveller,
            There remained in Græce some little footsteps of the Art [ndr : au Moyen Âge] ; and from thence it was, that about the Year 1250, there came some Painters, who could hardly be called Masters, having scarce any more knowledge of the Art than just to draw the Out-lines without either Grace or Proportion ; the first Schollar they made in Italy, was at Florence, and was called Cimabue ; who being helped by Nature, soon outdid his Masters, and began to give some strength to his Drawings, but still without any great Skill, as not understanding how to manage his Lights and Shadows, or indeed, how to Design truely ; it being it those days an unusual and unattempted thing to Draw after the
Life.