Basilica of Saint Dominic
A brief description.
occasion the cross was moved to the main chapel, most likely its original
location, and subsequently the illustrious art historian Pietro Toesca
brushwork, finding it "similar in every detail, even in the expression reached
in forced forms" to the celebrated Crucifix in Santa Croce in Firenze.
This crucifix was severely damaged in the Florentine flood of November 1966. San Marino 1967, Mi 902, Sc 676. >>>>>
The work corresponded to
the beginning of Cimabue’s stylistic course. For example, the technique of using
gilded highlights of gem-like production in working the loincloth and the
drapery goes back to Byzantine and medieval motifs as does the delineated and
blackened chiaroscuro; the type of halo with" raised" vegetable motifs was
widespread between 1260 and 1280.
The configuration of the cross, with the two sorrowful half figures on the panels at the extremities of the cross arms, the decorative motif of simulated fabric on the large backboard to the side of Christ, the elegant rhythm that involves the entire figure, the slender proportions of the body and the definition of the anatomy that divides the limbs as if they were pieces of armour refer us to the beginning of Cimabue’s work; in particular to the teaching of Giunta Pisano, the initiator of the suffering Christ iconography.
7th Centenary of the death of Cimabue
Christ on the Cimabue’s Crucifixion,
<<<< Italy 2002, Mi 2854, Sc 2500.
Italy 2002. Postmark Arezzo 22.06.2002.
7th Centenary of the death of Cimabue (1302).
Vatican City 2002, Mi 1417-1420, Sc 1228-1231.