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Student Artwork Guide

Crucifixion

Name Class Date

Bernardo Daddi, Crucifixion (1340), Collezione Vittorio Cini. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Bernardo Daddi originaluniqueart.com/en/artists/bernardo-daddi/
Artist’s dates
1290 – 1348
Painted
1340
Medium
Oil On Panel
Original size
74 x 33 cm
Movement
Gothic art Elegant, courtly medieval painting with gold grounds and slender, graceful figures.
Period
Late Medieval
Held at
Collezione Vittorio Cini originaluniqueart.com/en/museums/collezione-vittorio-cini-venice/
Artistic style
Gothic
Influences
Flemish school
Notable elements or techniques
Gold leaf, intricate patterns
Subject or theme
Crucifixion scene

In context

Crucifixion — Bernardo Daddi

How big is it?

The original measures 74 × 33 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1290
  2. 1300
  3. 1310
  4. 1320
  5. 1330
  6. 1340

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 58 at death.

Painted when the artist was 50. The artist lived to 58. 14 of the 29 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Bernardo Daddi (1290–1348) ▲ this work, 1340 every dated painting, decade by decade

First works: up to 1335 Main working years: 1335–1340 Late works: from 1340

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/bernardo-daddi-crucifixion-8Y35Z7-en/

Colours

Measured from the image

    Main colour

    Clay #af6b42

    Catalogued palette

    • #AF6B42
    • #D49562
    • #080505
    • #593D30

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Clay
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Bernardo Daddi over the last twelve months — 5 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 78.3%
    2. 2 Argentina 8.7%
    3. 3 Brazil 4.3%
    4. 4 France 4.3%
    5. 5 United States of America 4.3%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Bernardo Daddi

    1. 1 The Virgin Mary with Saints Thomas Aquinas and Paul, 1335 10.3%
    2. 2 Triptych, 1333 7.7%
    3. 3 Virgin and Child, 1340 7.7%
    4. 4 Madonna and Child, 1335 7.7%
    5. 5 Madonna and Child with Saints, 1340 5.1%
    6. 6 The Temptation of St Thomas Aquinas, 1338 5.1%
    7. 7 Virgin and Child Enthroned with Saints, 1343 5.1%
    8. 8 The Annunciation, 1335 5.1%
    9. 9 Crucifixion (detail), 1345 5.1%
    10. 10 The Assumption of the Virgin, 1337 2.6%
    11. 11 Madonna and Child with Saints and Angels, 1345 2.6%
    12. 12 Triptych, 1338 2.6%
    13. 13 Polyptych of San Pancrazio: Predella panel 2.6%
    14. 14 Madonna and Child with Sts Matthew and Nicholas, 1328 2.6%
    15. 15 Crucifixion, 1340 this painting 2.6%
    16. 16 Polyptych of San Pancrazio: Predella panel 2.6%
    17. 17 Portable, Double Sided Cross (recto), 1340 2.6%
    18. 18 The Nativity, 1340 2.6%
    19. 19 Madonna and Child Enthroned with Angels and Saints, 1334 2.6%
    20. 20 Crucifixion, 1345 2.6%

    Together these works take 87.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 45 works by this artist, of which 25 were looked at at least once. This painting ranks 15 of them, with 2.6% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Crucifixion — Bernardo Daddi

    The Crucifixion by Bernardo Daddi is a captivating painting that showcases the artist's skill and artistic vision. Created in 1340, this masterpiece measures 74 x 33 cm and is housed at the Collezione Vittorio Cini in Venice, Italy. The painting is a prime example of Gothic art, characterized by its use of gold leaf, elongated forms, and detailed patterns.

    Composition and Symbolism

    The central figure of the painting is a crucifixion scene with Jesus Christ depicted on the cross. To the left of the cross stands Mary Magdalene, identifiable by her long hair and red robe, who is shown in a pose of grief and contemplation. On the right side of the cross, there is another figure that appears to be John the Evangelist, dressed in a blue robe with a halo around his head, also in a posture of mourning. The background features a golden sky with clouds, which adds to the ethereal quality of the scene. Key elements of the painting include the use of gold leaf, intricate patterns, and detailed architectural structures. The overall composition of the painting suggests it may have been created as a devotional piece, possibly for private prayer or meditation. For more information on Bernardo Daddi and his works, visit /art/list/?Filter=8Y35Z7-Bernardo-Daddi-Crucifixion.

    Artist and Style

    Bernardo Daddi was a renowned artist from the Florentine school, known for his contributions to the development of Gothic art. His style is characterized by the use of tempera and gold leaf, which gives his paintings a unique and captivating quality. For more information on the Collezione Vittorio Cini and its collection, visit /art/list/?Filter=A@D3BS49-The-Museum-Collezione-Vittorio-Cini-(Venice-Italy).

    View more paintings by Bernardo Daddi at /en/art/show/art-8y35z7-en/

    Learn more about the Collezione Vittorio Cini at /art/list/?Filter=A@D3BS49-The-Museum-Collezione-Vittorio-Cini-(Venice-Italy)

    The Crucifixion by Bernardo Daddi is a masterpiece of Gothic art that continues to captivate audiences with its beauty and symbolism. As a professional expert in Art and https://AllPaintingsStore.com salesman, I highly recommend exploring the world of handmade oil paintings reproductions, where you can find stunning pieces like this one.

    Artist and museum

    Artist

    Bernardo Daddi

    Born in Florence, Italy

    Bernardo Daddi: Bridging Gothic and Renaissance in Florence

    Bernardo Daddi, born in Florence around 1290 and passing away in 1348, stands as a pivotal figure in the transition from the late Gothic to the burgeoning Italian Renaissance. He wasn’t a revolutionary iconoclast shattering established conventions overnight, but rather a master craftsman who subtly yet profoundly shifted the artistic landscape of his time, particularly within the vibrant city of Florence. Often described as the “leading painter” of Florence during his generation, Daddi's legacy lies not in radical departures, but in a measured evolution—a careful refinement of existing techniques and a dedication to realism that marked a crucial step toward the humanist ideals of the Renaissance.

    Early Life and Artistic Roots

    Daddi’s precise birthdate remains shrouded in some mystery, though records indicate he was first mentioned in 1312. It's widely believed that his artistic journey began under the tutelage of Giotto di Bondone, one of the most influential artists of the era. Giotto’s emphasis on naturalism and emotional expression undoubtedly shaped Daddi’s early style. His initial works demonstrate a clear connection to Giotto’s followers – masters like the “Master of Santa Cecilia” and other Florentine painters of the first quarter of the 14th century—reflecting a direct lineage of artistic influence. These early pieces showcase a stylistic fidelity, utilizing techniques common in the Gothic tradition while hinting at the burgeoning realism that would define his later career. The meticulous detail and vibrant colors characteristic of this period suggest a strong grounding in established practices, yet with an emerging sensitivity to depicting human form and emotion.

    A Style Defined by Realism and Portable Altarpieces

    Daddi’s artistic style represents a significant departure from the stylized, often highly symbolic, imagery prevalent in Gothic art. He sought to achieve a more accurate and believable representation of reality—a core tenet of the Renaissance. This shift is particularly evident in his smaller-scale works, where he skillfully rendered textures, drapery, and facial expressions with remarkable detail. Crucially, Daddi played a key role in popularizing the portable altarpiece format. These multi-panel compositions, designed to be displayed in churches and chapels, allowed for greater narrative complexity and visual richness than traditional wall paintings. Daddi’s later style, influenced by Maso di Banco, demonstrates an increased refinement—a subtle elegance that belies a certain academic precision. This blend of lyrical beauty and technical skill is what distinguishes his work and cemented his position as a leading Florentine painter.

    Notable Works and Museum Collections

    Bernardo Daddi’s artistic output has left an indelible mark on the collections of some of the world's most prestigious museums. The Uffizi Gallery in Florence houses a significant triptych from 1328, offering a compelling glimpse into his compositional skills and narrative storytelling. Equally remarkable is the “Martyrdom of Saint Stephen” housed within the Pinacoteca Vaticana—a predella comprised of eight panels painted around 1345. Beyond these iconic pieces, Daddi’s influence can be seen in numerous works scattered across institutions like the National Gallery of Art and the Walters Art Museum. His “Processional Cross,” for example, exemplifies his ability to capture movement and detail within a relatively small format. The Courtauld Institute of Art holds several panels from the "Coronation of the Virgin," showcasing his mastery of depicting religious figures and their surroundings.

    Influences and Lasting Legacy

    Daddi’s artistic development wasn't solely rooted in Giotto’s teachings; he was also influenced by the Sienese art of Lorenzetti, whose emphasis on civic virtue and naturalistic representation resonated with Daddi’s own aesthetic sensibilities. His last known work dates back to 1347, and sadly, he passed away shortly thereafter. Despite a certain “academic and mechanical hardness” noted by some critics—a characteristic perhaps stemming from his workshop's prolific output—Daddi’s lyrical elegance and technical skill ensured his enduring legacy. He bridged the gap between the Gothic past and the nascent Renaissance, shaping the visual language of Florence and leaving behind a body of work that continues to captivate viewers today. His contributions to the development of portable altarpieces and his commitment to realistic depiction laid the groundwork for future generations of Italian artists.

    Useful Resources

    Loggia del Bigallo, Florence:**

    Explore 14th-century art & historical artifacts from the Compagnia del Bigallo, including works by Arnoldi & Daddi. A unique Florentine gem!

    Bernardo Daddi - Getty Museum:**

    Explore the collection of the J. Paul Getty Museum at the Getty Center and the Getty Villa.

    Bernardo Daddi - Wikipedia:**

    Discover more about his life, work, and influences on Wikipedia.

    Museum

    Collezione Vittorio Cini

    On show in Venice, Italy

    A Venetian Palazzo’s Echoes of Time: Exploring the Collezione Vittorio Cini

    The Collezione Vittorio Cini stands as a singular testament to Venetian artistic heritage—a repository of beauty nestled within the venerable Palazzo Foscari, overlooking the iconic Grand Canal. Founded by Vittorio Cini, an industrialist whose life mirrored Italy’s turbulent 20th century, this gallery transcends mere display; it invites visitors into a dialogue across centuries, presenting a carefully curated panorama of Renaissance splendor alongside bold explorations of modern Italian art. More than just admiring masterpieces, one experiences the very spirit of Venice—its devotion to craftsmanship and its enduring fascination with artistic innovation.

    A Legacy Forged in Resilience:

    The Collection’s Origins

    Renaissance Brilliance: Venetian Masters Revisited

    Modern Visions: Shaping Italian Art History

    Beyond Paintings: Decorative Arts & Palazzo Foscari's Atmosphere

    Exploring the Cini Foundation Experience

    A Legacy Forged in Resilience: The Collection’s Origins

    Vittorio Cini’s story is inextricably linked to the profound transformations of Italy during World War II. Imprisoned at Dachau, his experiences instilled within him an unwavering commitment to safeguarding cultural treasures—a conviction that fueled the establishment of the Giorgio Cini Foundation in memory of his son, tragically lost in a plane crash. Recognizing the vulnerability of artistic heritage amidst political upheaval, Cini embarked on a mission to rescue invaluable artworks, securing them from obscurity and ensuring their preservation for future generations. This dedication wasn’t simply driven by sentimental remembrance; it stemmed from an astute understanding of art's capacity to transcend hardship and embody enduring values—a perspective that profoundly shaped the collection’s ethos.

    Renaissance Brilliance: Venetian Masters Revisited

    The Collezione Cini distinguishes itself through its deliberate juxtaposition of eras, prioritizing a holistic appreciation for artistic evolution. While many institutions concentrate on singular periods, here one encounters the luminous spirituality of Renaissance paintings alongside the audacious experimentation of 20th-century Italian masters. Particularly noteworthy is Venice’s Venetian School—artists who captured the city's distinctive aesthetic identity: masterful use of color, light, and texture that mirrored its mesmerizing lagoon setting. Consider Bernardo Daddi’s “Crucifixion,” a poignant depiction embodying faith and sorrow, or Giunta Pisano’s “Double-Sided Processional Cross,” showcasing intricate detail and conveying solemn reverence—examples of Venetian Gothic artistry. These pieces stand as beacons of artistic achievement, reflecting the intellectual currents of their time.

    Modern Visions: Shaping Italian Art History

    Venturing beyond the Renaissance, the collection embraces the dynamism of 20th-century Italian art. Guariento d’Arpo's “Paradise” fresco in Palazzo Ducale exemplifies this ambition—a bold reimagining of biblical narratives infused with Venetian artistic sensibilities. Artists like Giorgio Morandi and Piero Dorazio pushed boundaries, experimenting with abstraction and exploring new visual languages while retaining a connection to Venetian tradition. The collection encourages contemplation on how artistic movements interact and reinterpret heritage across time, prompting visitors to consider the enduring influence of Venetian craftsmanship on subsequent generations.

    Beyond Paintings: Decorative Arts & Palazzo Foscari's Atmosphere

    Complementing the paintings are exquisite decorative arts—furnishings, textiles, and objets d’art that illuminate the opulent lifestyle of Venice’s elite. These items aren’t merely aesthetically pleasing; they offer invaluable insight into social context and artistic patronage. Examining Guariento d’Arpo's “Paradise” alongside these treasures reveals how art permeated daily life, expressing status, wealth, and cultural identity—a comprehensive portrayal of Venetian culture beyond its celebrated artworks. Palazzo Foscari itself contributes to this immersive experience, transporting visitors back to a bygone era with its grand interiors and historic ambiance.

    Exploring the Cini Foundation Experience

    Ultimately, the Collezione Vittorio Cini invites contemplation alongside discovery. Whether you are a seasoned collector seeking rare gems or an interior designer yearning for inspiration—or simply someone captivated by art’s ability to inspire—this museum promises an unforgettable journey into the heart of Venetian culture. Allow yourself to be transported by the stories these artworks tell, the emotions they evoke, and the legacy they leave behind—a reminder that true beauty resides not only in what we see but also in how it resonates within us.

    Where to read more

    Find this online

    QR code linking to the download page for Crucifixion

    originaluniqueart.com/en/art/download/bernardo-daddi-crucifixion-8Y35Z7-en/

    Cite this artwork

    MLA
    Daddi, Bernardo. Crucifixion. 1340, Collezione Vittorio Cini. https://originaluniqueart.com/en/art/bernardo-daddi-crucifixion-8Y35Z7-en/
    APA
    Daddi, Bernardo (1340). Crucifixion [Painting]. Collezione Vittorio Cini. https://originaluniqueart.com/en/art/bernardo-daddi-crucifixion-8Y35Z7-en/
    Chicago
    Bernardo Daddi. Crucifixion. 1340. Collezione Vittorio Cini. https://originaluniqueart.com/en/art/bernardo-daddi-crucifixion-8Y35Z7-en/
    Harvard
    Daddi, Bernardo (1340) Crucifixion. Collezione Vittorio Cini. Available at: https://originaluniqueart.com/en/art/bernardo-daddi-crucifixion-8Y35Z7-en/

    Look closely

    Crucifixion — Bernardo Daddi

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: crucifixion, religious scene, gothic art. Do you agree? What would you add, or take away?
    4. Look back at The Assumption of the Virgin (1337), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Gothic art: Elegant, courtly medieval painting with gold grounds and slender, graceful figures. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Crucifixion — Bernardo Daddi

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary art historical style exemplified by Bernardo Daddi's 'Crucifixion'?

      • A Renaissance
      • B Baroque
      • C Gothic
    2. 2. In which city was the artist, Bernardo Daddi, born?

      • A Rome
      • B Venice
      • C Florence
    3. 3. Which biblical figure is depicted standing to the left of the cross in the painting?

      • A John the Evangelist
      • B Mary Magdalene
      • C The Virgin Mary
    4. 4. What material, characteristic of Gothic art, is notably used in the background sky?

      • A Oil paint on canvas
      • B Gold leaf
      • C Fresco pigment
    5. 5. Approximately what year was Bernardo Daddi's 'Crucifixion' created?

      • A 1400
      • B 1340
      • C 1290

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3A · 4A · 5A

    Check any answer against the catalogue record for this painting

    Questions & Answers

    What historical period is "Crucifixion" by Bernardo Daddi from?

    "Crucifixion" by Bernardo Daddi dates from the Late-Medieval period. The period gives the historical context of the work.

    What is the dominant hue of "Crucifixion" by Bernardo Daddi?

    "Crucifixion" leans toward an amber to saffron tone.

    How much light do the colors of "Crucifixion" appear to reflect?

    The luminance recorded for "Crucifixion" by Bernardo Daddi is soft shadow.