Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 30 værker af Andrea Di Bartolo i vores katalog
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I galleriets øjne er Andrea Di Bartolos mest berømte maleri Coronation of the Virgin (1410), hvis original hænger på Pinacoteca di Brera i Milano. St. Jerome in the Wildrness (1515) og The Presentation of the Virgin in the Temple (1400) fuldender trioen, som ethvert øje genkender. Ud af de 30 værker af Andrea Di Bartolo i vores katalog præsenterer galleriet herunder de 28 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
To stand before this depiction of the Coronation of the Virgin is to be transported across the veil of time, into a realm where earthly grandeur meets divine glory. The scene unfolds with breathtaking solemnity and vibrant energy, capturing that singular moment when Mary, the Mother of God, is elevated to her heavenly throne. Andrea di Bartolo’s masterful hand guides our gaze through this sacred gathering, presenting not merely an…
In the quiet, rugged expanse of a landscape that feels more European than Syrian, we encounter a moment of profound spiritual intensity. St. Jerome in the Wilderness is not merely a depiction of a saint; it is an immersive experience of penance and prayer. As the viewer’s eye meets the kneeling figure of St. Jerome, there is an immediate sense of the weight of devotion. The artist captures the saint…
The Presentation of the Virgin in the Temple by Andrea Di Bartolo captures a pivotal moment from the life of the Madonna. Created about 1400/1405, the work illustrates the young Virgin Mary taking leave of her parents, Anna and Joachim. This narrative is drawn from an apocryphal account attributed to the evangelist Matthew, rather than the canonical Gospels.
![Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] (1380) af Andrea Di Bartolo](/media/artworks/images-full/af/41/af417e3eb41ddef349e93ac33b37d2d0.jpg)
The late 14th-century Sienese School finds a profound expression in this tempera and gold leaf panel. Seated upon a patterned cushion, the Virgin Mary nurtures the infant Christ, a composition that emphasizes maternal intimacy within a rigid, hierarchical structure. The gold ground provides a non-naturalistic, divine backdrop, reflecting an omnipresent light that transcends earthly space. This portable altarpiece, dated to approximately 1380, utilizes a vertical arrangement to guide the viewer…
![Christ on the Cross [reverse] (1380) af Andrea Di Bartolo](/media/artworks/images-full/5b/3b/5b3b42a460d2fd5d2abb04b2d11c236c.jpg)
The viewer encounters Christ on the Cross [reverse], a work by Andrea Di Bartolo that dates to about 1380/1390. This panel functions as a simplified version of a portable diptych, a small and intimate object designed for private contemplation. While the obverse of such an icon typically presents a Madonna and Child, this specific side focuses entirely on the central figure of the Crucifixion. It is a quiet, solitary scene…
In this panoramic composition, we find ourselves witnessing a profound moment of religious tragedy. The scene is crowded, filled with a dense assembly of mourners and soldiers that presses against the foreground, creating a sense of immediate, heavy presence. At the center, the figure of Christ is suspended on the cross, flanked by two thieves, while angels hover within the sky above. The composition is characteristic of the Sienese Gothic…
The composition ascends vertically, guiding the eye from the earthly realm toward a divine summit. At the center of this spiritual movement, the Virgin Mary rises through layers of angelic figures, her presence framed by a background of gold leaf that eliminates earthly shadows. This Sienese Gothic approach creates a flattened, sacred space where light is even and pervasive. The figures are defined by rhythmic, organic shapes and the precise,…
The gaze meets Den hellige Blasius, a painting that holds a steady, sacred presence. This work by Andrea Di Bartolo brings a singular figure into view, presenting a religious scene or person through the lens of late medieval devotion. The subject, Saint Blasius, emerges from a background of gold, appearing as a quiet pillar of faith. Every line of the figure seems to carry the weight of a prayer, frozen…
The Crucifixion by Andrea Di Bartolo emerges from the shadows of the late fourteenth century, a solemn vision captured around 1400. This work places the viewer directly before the central event of Christian history, presenting the Crucifixion of Jesus Christ with a profound sense of spiritual weight. Every line and color choice works to anchor this sacred moment in a space that feels both otherworldly and deeply felt.
Saint Stephen (panel from the right pilaster of an altarpiece) is a work by Andrea Di Bartolo. This fragmentary panel originated as part of a series of superimposed figures from the right pilaster of an unidentified Italian altarpiece. The wood panel captures the first Christian martyr, Saint Stephen, in a moment of quiet, heavy presence. He is depicted with the symbols of his devotion and his end: a book held…
The Crucifixion with the Virgin, Mary Magdalene and St. John the Evangelist1400 · Vanderbilt Museum of Art
12
Saint Galgano Inviting the People to Adore the Cross1415 · National Gallery of Ireland
13
Christ in Benediction1410 · Detroit Institute of Arts
14
Madonna of Humility, portable altarpiece1410 · Brooklyn Museum
15
The Lamentation1400 · Nationalmuseum
16
Madonna and Child1415
17
Madonna and Child1424 · Detroit Institute of Arts
18
Coronation of the Virgin1405
19
Joachim and Anna Giving Food to the Poor and Offerings to the Temple1405 · National Gallery of Art
20
Saint BishopMusée du Petit Palais
21
Saint Anthony AbbotMusée du Petit Palais
22
Saint CostanzoMusée du Petit Palais
23
Saints Anthony Abbot and Ansano
24
Kristus på Vejen til Kalkstenen1415 · Fundación Colección Thyssen-Bornemisza
25
The CrucifixionIsrael Museum
26
St Paul
27
The Nativity of the Virgin1405 · National Gallery of Art
28
Madonna of Humility1400 · Montreal Museum of Fine Arts
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Andrea Di Bartolo | Malerier fra denne liste |
|---|---|---|---|
 National Gallery of Art |
Washington | 5 | The Presentation of the Virgin in the Temple, Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse], Christ on the Cross [reverse] |
 Musée du Petit Palais |
Avignon | 3 | Saint Bishop, Saint Anthony Abbot, Saint Costanzo |
 Detroit Institute of Arts |
Detroit | 2 | Christ in Benediction, Madonna and Child |
 Pinacoteca di Brera |
Milano | 1 | Coronation of the Virgin |
 The Bowes Museum |
Barnard Castle | 1 | St. Jerome in the Wildrness |
 Metropolitan Museum of Art |
New York | 1 | The Crucifixion |
 Virginia Museum of Fine Arts |
Richmond | 1 | The Assumption of the Virgin with St. Thomas and Two Donors (Ser Palamedes and his Son Matthew) |
 Nationalmuseet for kunst, arkitektur og design |
Oslo | 1 | Den hellige Blasius |
Vælg et årti for at se det originale værk, der definerer det.
The late 14th-century Sienese School finds a profound expression in this tempera and gold leaf panel. Seated upon a patterned cushion, the Virgin Mary nurtures the infant Christ, a composition that emphasizes maternal intimacy within a rigid, hierarchical structure. The gold ground provides a non-naturalistic, divine backdrop, reflecting an omnipresent light that transcends earthly space. This portable altarpiece, dated to approximately 1380, utilizes a vertical arrangement to guide the viewer…
The composition ascends vertically, guiding the eye from the earthly realm toward a divine summit. At the center of this spiritual movement, the Virgin Mary rises through layers of angelic figures, her presence framed by a background of gold leaf that eliminates earthly shadows. This Sienese Gothic approach creates a flattened, sacred space where light is even and pervasive. The figures are defined by rhythmic, organic shapes and the precise,…
The Presentation of the Virgin in the Temple by Andrea Di Bartolo captures a pivotal moment from the life of the Madonna. Created about 1400/1405, the work illustrates the young Virgin Mary taking leave of her parents, Anna and Joachim. This narrative is drawn from an apocryphal account attributed to the evangelist Matthew, rather than the canonical Gospels.
To stand before this depiction of the Coronation of the Virgin is to be transported across the veil of time, into a realm where earthly grandeur meets divine glory. The scene unfolds with breathtaking solemnity and vibrant energy, capturing that singular moment when Mary, the Mother of God, is elevated to her heavenly throne. Andrea di Bartolo’s masterful hand guides our gaze through this sacred gathering, presenting not merely an…
The Madonna and Child is a sacred depiction by the Italian artist Andrea Di Bartolo. This work belongs to the Sienese School, a tradition that shaped the visual language of central Italy. The artist, a versatile creator who worked as a painter, stained glass designer, and illuminator, captured this intimate moment of devotion. His hand moved with the precision required for both large altarpieces and the delicate details of illuminated…
Coronation of the Virgin (1410), Pinacoteca di Brera, Milano. Derefter følger St. Jerome in the Wildrness (1515) og The Presentation of the Virgin in the Temple (1400).
50 år gammel: Coronation of the Virgin er fra 1410, og Andrea Di Bartolo blev født i 1360.
Coronation of the Virgin, St. Jerome in the Wildrness, The Presentation of the Virgin in the Temple, Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse], Christ on the Cross [reverse], The Crucifixion, The Assumption of the Virgin with St. Thomas and Two Donors (Ser Palamedes and his Son Matthew), Den hellige Blasius, The Crucifixion og Saint Stephen (panel from the right pilaster of an altarpiece). Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 30 værker af Andrea Di Bartolo, dateret fra 1380 til 1424.
Primært i National Gallery of Art (Washington), Musée du Petit Palais (Avignon) og Detroit Institute of Arts (Detroit). Museumslisten ovenfor viser dem alle.
I 1400s: 8 af de 28 værker på denne side blev skabt dengang, herunder The Presentation of the Virgin in the Temple.
På denne side er det tidligste Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] (1380) og det seneste Madonna and Child (1424).
Gold background (14), Woman (7) og Child (6), fordelt på de 28 værker på denne side.
Tempera On Panel, for 19 af de 28 værker på denne side.
Sienese school, baseret på originalerne på denne side.
The Presentation of the Virgin in the Temple, Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] og Christ on the Cross [reverse]: National Gallery of Art, Washington har 5 af værkerne på denne side.
I hjertet af den livlige Sienese School trådte Andrea Di Bartolo frem som en mester, hvis pensel fangede sin tids dybe spirituelle intensitet. Som søn og elev af den fremtrædende maler Bartolo di Fredi var Andreas kunstneriske rejse dybt forankret i traditionerne fra sin fars værksted. Hans tidlige år blev brugt i fordybelse i de prestigefyldte opgaver, der strømmede gennem familiens atelier, en læretid der lagde fundamentet for en karriere defineret af religiøs hengivenhed og teknisk mesterskab. Ved at arbejde side om side med lysende skikkelser som Luca di Tommè, bidrog han til betydningsfulde fællesværker, herunder et altertavle til skomagerlauget i domkirken i Siena, hvilket markerede hans første dokumenterede tilstedeværelse i kunsthistorien.
Andrea Di Bartolos kunstneriske virke var ikke begrænset til lærredet alene; han var en alsidig skaber, der arbejdede som maler, glasmaler og illuminator af manuskripter. Hans værker brobyggede ofte mellem den æteriske nåde i den gotiske tradition og den spirende humanisme, som senere skulle definere renæssancen. I hans religiøse motiver finder man en omhyggelig detaljegrad og en evne til narrativ dybde. Uanset om han skildrede den stille ensomhed i Sankt Hieronymus i ødemarken eller den dramatiske spænding i en Korsfæstelse, besad Andrea evnen til at forankre sine kompositioner med kraftfulde strukturer, der drager beskueren ind i en tilstand af kontemplation.
Den tekniske dygtighed hos Andrea Di Bartolo er mest tydelig i hans evne til at manipulere lys og tekstur for at vække følelser. Hans værker besidder ofte en lysende kvalitet, hvor samspillet mellem skygge og glans spejler de åndelige kampe hos hans motiver. I hans fremstillinger af hellige figurer er der en mærkbar følelse af tyngde og nærvær; de tunge, rytmiske folder i en kardinals gevandter eller et slørs delikate gennemsigtighed er gengivet med en præcision, der gør det guddommelige mærkbart menneskeligt. Denne mesterlighed gjorde det muligt for ham at skabe værker, der fungerede som tavse prædikener, rige på et symbolsk sprog med det formål at inspirere de troende til gudfrygtighed.
Ud over hans individuelle talent ligger Andreas historiske betydning i hans rolle i det skiftende landskab i det centrale og nordlige Italien. Aktiv gennem det sene 14. og tidlige 15. århundrede var han med til at opretholde prestige for Sienese School i en periode med store omvæltninger. Hans bidrag til altertavler, glasmosaik og illuminerede manuskripter sikrede, at hans kunstneriske vision gennemtrængte forskellige aspekter af det religiøse liv i Siena og de omkringliggende byer. Gennem sin dedikation til både sit håndværks dekorative kompleksitet og sine motiver smukke højtidelighed, efterlod Andrea Di Bartolo et uudsletteligt præg på Italiens visuelle kulturarv.
![Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] (1380), Andrea Di Bartolo](/media/artworks/images-thumb/f3/31/f3317163438ed194835309786408ef36.jpg)
![Christ on the Cross [reverse] (1380), Andrea Di Bartolo](/media/artworks/images-thumb/55/5c/555c73d3771b620115fd27edb2efe4d7.jpg)
