Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 52 værker af Arnolfo Di Cambio i vores katalog
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I galleriets øjne er Arnolfo Di Cambios mest berømte maleri Madonna and Child (detail) (1296), hvis original hænger på Museo dell'Opera del Duomo i Firenze. Tomb of Boniface VIII (fragments) (1294) og Tomb of Cardinal Annibaldi della Molara (detail) (1276) fuldender trioen, som ethvert øje genkender. Ud af de 52 værker af Arnolfo Di Cambio i vores katalog præsenterer galleriet herunder de 52 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
In the dim light of the Museo dell'Opera del Duomo, one encounters a presence that feels both heavy and strangely light. This detail of the Madonna and Child, carved around 1296, offers a moment of stillness. The marble, sourced from the purity of Carrara, has been worked with a precision that suggests a deep understanding of the stone's inherent weight. We see the Madonna's face, characterized by a serene, almost…
These marble fragments, dating from 1294–1296, represent the surviving sculptural elements of the Tomb of Boniface VIII. Carved by Arnolfo di Cambio, the two angelic figures were originally part of a larger funerary monument intended for St. Peter’s Basilica. The figures are characterized by the elongated proportions and flowing drapery typical of the Gothic style, prioritizing spiritual expression over strict naturalism. Each angel is positioned symmetrically, facing opposite directions to…
The stone holds a heavy, silent movement. In this relief, a line of figures moves through a narrow, carved space, caught in the eternal rhythm of a funeral rite. The light catches the edges of heavy drapery and the sharp lines of liturgical garments, casting shadows that give the figures a sudden, startling weight. They are not merely shapes; they are bodies burdened by the gravity of their task. Each…
The Tomb of Cardinal Annibaldi della Molara (detail) emerges from the shadows of history as a fragment of a larger, solemn funerary monument. This specific piece, attributed to the hand of Arnolfo Di Cambio, offers a glimpse into a grander commemorative structure that once occupied a sacred space. While the name suggests a high-ranking prelate, the stone tells a different story of lineage and loss. The monument was originally erected…
Within the quiet presbytery of the church of Santa Cecilia in Trastevere, Rome, a delicate structure catches the light. This piece, known as Tabernacle (detail) (22), emerges from the altar of Santa Cecilia as a ciborium of intricate design. Created in 1293, the work carries the unmistakable hand of Arnolfo Di Cambio. One senses the presence of a high-ranking patron in its very existence, as historical records attribute the piece…
This sculptural detail, titled Tabernacle (detail) (24), was executed by the artist Arnolfo Di Cambio. The work dates to about 1293. It represents a specific segment of a larger, more expansive sculptural program. The piece is a relief carving that focuses on a seated figure engaged in the act of reading from a book. Beside this central figure, an animal, identified as a lamb, is positioned within the composition.
The gaze meets the intricate textures of Tabernacle (detail) (29), a sculptural relief that emerges from the stone with a quiet, heavy presence. Created by Arnolfo Di Cambio, this fragment captures a moment of profound stillness. The figure, a patriarchal character with a thick, textured beard and flowing drapery, rests in a state of contemplation. Every line of the carving speaks to a specific intention, frozen in the material to…
The marble sculpture titled Thirsting Woman was carved by Arnolfo Di Cambio. It emerged from the sculptor's hands around 1281. The stone holds a quiet, heavy weight, capturing a moment of singular human need. This figure remains a study in stone and shadow.
The gaze meets a quiet, marble presence in this Madonna (detail) by Arnolfo Di Cambio. Carved around 1296, the work emerges from the stone in high relief, creating a sense of physical weight and immediate presence. This fragment captures a moment of profound religious iconography, where the figures of the Madonna and Child exist in a shared, silent space. The marble carries the memory of the sculptor's chisel, revealing the…
Tabernacle (detail) (25) is a sculptural fragment created by Arnolfo Di Cambio. This specific section originates from a larger tabernacle dating to 1293. The work is a component of the monumental ciborium located within the Basilica of Santa Cecilia in Trastevere in Rome, Italy.
Tabernacle (detail) (23)1293 · Santa Cecilia in Trastevere
12
Tabernacle (detail) (10)1293 · Santa Cecilia in Trastevere
13
Madonna and Child (detail)1296 · Museo dell'Opera del Duomo
14
Thirsty Woman (detail)1281 · Galleria Nazionale dell'Umbria
15
St Reparata1310 · Museo dell'Opera del Duomo
16
Madonna1310 · Museo dell'Opera del Duomo
17
Madonna and Child1310 · Museo dell'Opera del Duomo
18
Dormition of the Virgin1296 · Staatliche Museen zu Berlin
19
Arca di San Domenico (detail)1264 · San Domenico
20
Pope Boniface VIII Blessing1300 · Museo dell'Opera del Duomo
21
Thirsty Woman1281 · Galleria Nazionale dell'Umbria
22
The Statue of Saint Peter1300 · Treasury of San Pietro
23
Ciborium (detail)1283 · San Paolo fuori le Mura
24
Tabernacle (detail) (21)1293 · Santa Cecilia in Trastevere
25
Tomb of Boniface VIII1294 · Vatikanmuseerne
26
Ciborium1283 · San Paolo fuori le Mura
27
View of the Palazzo Vecchio1298 · Palazzo Vecchio
28
Tabernacle1293 · Santa Cecilia in Trastevere
29
Tabernacle1293 · Santa Cecilia in Trastevere
30
Ciborium1283 · San Paolo fuori le Mura
31
Madonna and Child (detail)1296 · Museo dell'Opera del Duomo
32
Tomb of Boniface VIII (detail)1294 · Vatikanmuseerne
33
St Joseph SleepingKatedralen i Orvieto
34
Presepio (detail)Santa Maria Maggiore
35
Head of a Young ManMuseo dell'Opera del Duomo
36
Presepio (detail) (24)Santa Maria Maggiore
37
Presepio (detail) (20)Santa Maria Maggiore
38
Presepio (detail)Santa Maria Maggiore
39
Presepio (detail)Santa Maria Maggiore
40
Presepio (detail) (23)Santa Maria Maggiore
41
Presepio (detail) (19)Santa Maria Maggiore
42
PresepioSanta Maria Maggiore
43
Tomb of Cardinal de Braye (detail) (12)San Domenico
44
Tomb of Cardinal de Braye (detail)San Domenico
45
Presepio (detail) (16)Santa Maria Maggiore
46
Presepio (detail) (22)Santa Maria Maggiore
47
Ciborium1283 · San Paolo fuori le Mura
48
Presepio (detail) (25)Santa Maria Maggiore
49
Monument to L. SavelliSanta Maria in Aracoeli
50
Tomb of Cardinal de Braye (detail) (11)San Domenico
51
Presepio (detail) (21)Santa Maria Maggiore
52
Tomb of Cardinal de BrayeSan Domenico
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 Arnolfo Di Cambio | Malerier fra denne liste |
|---|---|---|---|
 Santa Maria Maggiore |
Rom | 12 | Presepio (detail), Presepio (detail) (24), Presepio (detail) (20) |
 Santa Cecilia in Trastevere |
Rom | 9 | Tabernacle (detail) (22), Tabernacle (detail) (24), Tabernacle (detail) (29) |
 Museo dell'Opera del Duomo |
Firenze | 8 | Madonna and Child (detail), Madonna (detail), Madonna and Child (detail) |
 San Paolo fuori le Mura |
Rom | 4 | Ciborium (detail), Ciborium, Ciborium |
 San Domenico |
Orvieto | 4 | Tomb of Cardinal de Braye (detail) (12), Tomb of Cardinal de Braye (detail), Tomb of Cardinal de Braye (detail) (11) |
 Vatikanmuseerne |
Vatikanstaten | 3 | Tomb of Boniface VIII (fragments), Tomb of Boniface VIII, Tomb of Boniface VIII (detail) |
 Galleria Nazionale dell'Umbria |
Perugia | 3 | Thirsting Woman, Thirsty Woman (detail), Thirsty Woman |
 Cloister of San Giovanni Laterano |
Rome | 2 | Tomb of Cardinal Annibaldi della Molara (detail), Tomb of Cardinal Annibaldi della Molara (detail) |
Vælg et årti for at se det originale værk, der definerer det.
A Glimpse Into Medieval Reverence: Analyzing Arnolfo di Cambio’s ‘Arca di San Domenico’ The 'Arca di San Domenico,' sculpted by Arnolfo di Cambio around 1264, stands as a testament to the artistic fervor of the High Gothic period in Tuscany. More than just stone and marble, it embodies the spiritual aspirations of its time—a profound devotion to Saint Dominic and an unwavering commitment to conveying religious narrative through meticulously crafted…
The stone holds a heavy, silent movement. In this relief, a line of figures moves through a narrow, carved space, caught in the eternal rhythm of a funeral rite. The light catches the edges of heavy drapery and the sharp lines of liturgical garments, casting shadows that give the figures a sudden, startling weight. They are not merely shapes; they are bodies burdened by the gravity of their task. Each…
The marble sculpture titled Thirsting Woman was carved by Arnolfo Di Cambio. It emerged from the sculptor's hands around 1281. The stone holds a quiet, heavy weight, capturing a moment of singular human need. This figure remains a study in stone and shadow.
In the dim light of the Museo dell'Opera del Duomo, one encounters a presence that feels both heavy and strangely light. This detail of the Madonna and Child, carved around 1296, offers a moment of stillness. The marble, sourced from the purity of Carrara, has been worked with a precision that suggests a deep understanding of the stone's inherent weight. We see the Madonna's face, characterized by a serene, almost…
The sculpture titled Pope Boniface VIII Blessing is a work by the artist Arnolfo Di Cambio. Created around 1300, this marble piece depicts the religious figure Pope Boniface VIII in a seated position. The subject is positioned upon a simple throne, which provides a horizontal base for the verticality of the figure.
In the soft, diffused light of the Museo dell'Opera del Duomo, the marble figure of St Reparata commands a certain stillness. Carved around 1310 by Arnolfo di Cambio, this sculpture captures a moment of serene composure. The figure is rendered in a contrapposto pose, a subtle shift in weight that lends a sense of life to the stone. She is draped in a flowing tunic and a heavy cloak, the…
Madonna and Child (detail) (1296), Museo dell'Opera del Duomo, Firenze. Derefter følger Tomb of Boniface VIII (fragments) (1294) og Tomb of Cardinal Annibaldi della Molara (detail) (1276).
51 år gammel: Madonna and Child (detail) er fra 1296, og Arnolfo Di Cambio blev født i 1245.
Madonna and Child (detail), Tomb of Boniface VIII (fragments), Tomb of Cardinal Annibaldi della Molara (detail), Tomb of Cardinal Annibaldi della Molara (detail), Tabernacle (detail) (22), Tabernacle (detail) (24), Tabernacle (detail) (29), Thirsting Woman, Madonna (detail) og Tabernacle (detail) (25). Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 52 værker af Arnolfo Di Cambio, dateret fra 1264 til 1310.
Primært i Santa Maria Maggiore (Rom), Santa Cecilia in Trastevere (Rom) og Museo dell'Opera del Duomo (Firenze). Museumslisten ovenfor viser dem alle.
I 1290s: 18 af de 52 værker på denne side blev skabt dengang, herunder Madonna and Child (detail).
På denne side er det tidligste Arca di San Domenico (detail) (1264) og det seneste St Reparata (1310).
Marble (15), Sculpture (14) og Architecture (8), fordelt på de 52 værker på denne side.
Marble, for 16 af de 52 værker på denne side.
Proto-renaissance, baseret på originalerne på denne side.
Presepio (detail), Presepio (detail) (24) og Presepio (detail) (20): Santa Maria Maggiore, Rom har 12 af værkerne på denne side.
Arnolfo di Cambio står som en monumentale skikkelse i den italienske kunsthistorie, en arkitekt og billedhugger, hvis hånd formede selve konturerne af det middelalderlige og tidlige renæssance-Firenze. Han blev født i Colle Val D'Elsa omkring 1245, og hans liv strakte sig over en periode med dyb kunstnerisk transition, hvilket gjorde det muligt for ham at absorbere den romerske antiks storhed, mens han samtidig banede vejen for nye former, der skulle definere den gotiske sanselighed i århundreder fremover. Hans tidlige læretid under mestre som Nicola Pisano gav ham et uvurderligt fundament, hvilket især kom til udtryk i hans arbejde med marmorprædikestolen til Duomo i Siena mellem 1265 og 1268.
Dog var Arnolfos geni ikke begrænset til ét enkelt sted eller én stilart. Hans rejser og opgaver gav ham en svimlende bredde i hans erfaringer. I Rom tjente han kong Charles I af Anjou og bidrog til den storslåede statue, der huseres i Campidoglio. Det var i dette levende romerske miljø, at hans forståelse for klassiske former blev uddybet – en indflydelse, som ville gennemsyre hans senere dekorative værker.
Hans skulpturelle bedrifter vidner om en bemærkelsesværdig alsidighed. Et fremragende eksempel er det monument, han færdiggjorde til kardinal Guillaume de Braye i kirken San Domenico i Orvieto omkring 1282. Her blev hans vision realiseret på en betagende måde, især i den tronende Madonna (en maestà). Modellen til dette værk trak direkte tråde til antikkens romerske statuær – specifikt gudinden Abundantia – hvilket gjorde det muligt for ham sømløst at væve et klassisk sprog ind i en distinkt kristen fortælling. Desuden bemærker forskere detaljerne i Madonnaens tiara og smykker for deres omhyggelige gengivelse af antikke forbilleder, hvilket vidner om hans dybe lærde engagement i historien.
Arnolfos forbindelse til romersk dekorativ kunst var dyb; efter selv at have overværet den cosmateske kunst på tæt hold, kan dens indflydelse spores i de intrikate intarsia og polykrome glaskunst-dekorationer, som han bidrog med til betydningsfulde steder såsom Basilica di San Paolo fuori le Mura og kirken Santa Cecilia i Trastevere. Hans virke fortsatte gennem monumentale bestillinger, herunder arbejdet med præsepioen i Santa Maria Maggiore og bidrag til monumentet for pave Bonifatius VIII.
Perioden fra 1294 til 1295 så Arnolfo arbejde omfattende i Firenze, primært som arkitekt. Ifølge Giorgio Vasaris detaljerede beretninger blev han betroet tilsynet med opførelsen af byens katedral, en rolle der cementerede hans status som mesterbygmester. Selvom meget af dekorationen på den nederste del af facaden er gået tabt over tid, står de overlevende statuer tilbage som kraftfulde vidnesbyrd om hans dygtighed. Mens visse tilskrivninger stadig debatteres, forbindes designet af kirken Santa Croce ofte med ham, og Vasari tilskrev ham også byplanen for San Giovanni Valdarno.
Det er ubestrideligt, at Arnolfos monumentale karakter efterlod et uudsletteligt aftryk på selve Firenzes udseende. Hans gravmonumenter etablerede i særdeleshed en standard, der blev den definerende model for gotisk gravkunst for efterfølgende generationer af italienske håndværkere.
Arnolfo di Cambio var mere end blot en håndværker; han var en kunstnerisk syntetisator. Han besad den sjældne evne til at bygge bro mellem vidt forskellige historiske stilarter – tyngden fra den romerske antik, den himmelstræbende stræben i gotikken og den spirende humanisme, der senere skulle blomstre i renæssancen. Hans omfattende værk, som er beskrevet af Vasari i hans "Lives", sikrer hans plads ikke blot som en deltager i kunsthistorien, men som en af dens mest afgørende arkitekter og billedhuggere.
Hans geni ligger i denne syntese: en dyb respekt for fortiden kanaliseret gennem en innovativ vision for fremtiden.
