Student Artwork Guide
Copyright This work is in the public domain. Pacino Di Bonaguida died in 1343; copyright lasts 70 years after the artist’s death, so it ended in 1413.
In context
Triptych — Pacino Di Bonaguida
The original measures 42 × 25 cm (height × width), drawn here beside an adult of average height.
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 63 at death.
Painted when the artist was 30. The artist lived to 63. 0 of the 15 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Pacino Di Bonaguida (1280–1343) ▲ this work, 1310 every dated painting, decade by decade
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/pacino-di-bonaguida-triptych-8XZSS3-en/
Measured from the image
Main colour
Espresso #463632
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
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.
Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 16 works by this artist, of which 7 were looked at at least once. This painting ranks 7 of them, with 9.1% 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.
Artist and museum
Born in Florence, Italy
Pacino di Bonaguida, a name resonating softly through the annals of 14th-century Italian art, represents a pivotal figure in the transition from the Byzantine-rooted traditions to the burgeoning Renaissance aesthetic. Active primarily in Florence between approximately 1303 and 1347, Pacino’s life remains shrouded in mystery—a common fate for many artists of his era. What we know is gleaned not from extensive biographical accounts but from archival documents detailing partnerships, guild affiliations, and a single, signed altarpiece that serves as the cornerstone of his attributed oeuvre. He first appears in records in 1303 dissolving a partnership with Tambo di Serraglio, being described at the time as a ‘publicus artifex in arte pictorum’ – a public artist in the art of painting. This early designation hints at an already established reputation within the Florentine artistic community. His later enrollment in the Arte dei Medici e Speziali around 1330 further solidifies his position as a respected professional, deeply integrated into the city's economic and social fabric.
Despite the scarcity of concrete biographical details, Pacino’s artistic legacy has expanded considerably over time. Initially recognized for his signed polyptych—the Crucifixion with Sts Nicholas, Bartholomew, Florentius and Luke at Florence's Accademia di Belle Arti—scholarly investigation has led to the attribution of over fifty works to his hand or workshop. This expansion is largely due to stylistic consistencies observed in a remarkable body of illuminated manuscripts and altarpieces circulating within Florentine collections. His work embodies the elegance and refinement characteristic of Gothic art, yet it also displays an emerging naturalism that foreshadows the innovations of artists like Giotto. The Laudario di Sant'Agnese, a lavishly decorated manuscript created for the Compagnia di Sant’Agnese confraternity in 1340, stands as a prime example of his mastery. Each page is a jewel-toned spectacle, featuring scenes from the life of St. Agnes rendered with delicate precision and an abundance of gold leaf. The compositions are dynamic, filled with expressive figures and symbolic details that reflect the devotional fervor of the period.
The sheer volume of works attributed to Pacino raises questions about his studio practices. It is widely accepted that he maintained a bustling workshop, employing numerous assistants and collaborators. This was standard practice in 14th-century Florence, where artistic production relied heavily on collective effort. The Getty Museum’s Chiarito Tabernacle provides compelling evidence of this collaborative environment. Analysis reveals the involvement of multiple hands, each contributing specialized skills to the overall project. One particularly noteworthy collaborator is known as the “Master of the Dominican Effigies,” named for a panel painting depicting Christ and the Virgin Mary surrounded by Dominican saints. This artist’s style, while distinct from Pacino's, complemented his work beautifully in collaborative commissions, demonstrating a sophisticated network of artistic exchange within Florence. The Chiarito Tabernacle exemplifies this teamwork, showcasing a harmonious blend of individual talents focused on creating a visually stunning and spiritually resonant artwork.
Pinpointing Pacino’s specific influences is a complex undertaking, given the limited documentation surrounding his early career. However, scholars identify clear connections to late 13th-century traditions, particularly in the archaic style of his signed altarpiece. This work reveals an adherence to established Byzantine conventions, characterized by flattened figures and stylized drapery. Yet, even within this framework, Pacino demonstrates a nascent interest in naturalism—a tendency that would become more pronounced throughout his career. The influence of artists like Giotto is also evident, particularly in the dynamic compositions and expressive gestures found in his illuminated manuscripts. He skillfully integrated these emerging trends into his own unique style, creating a synthesis of Gothic elegance and proto-Renaissance innovation. His work reflects a keen awareness of contemporary artistic developments while maintaining a distinct Florentine character.
Pacino di Bonaguida occupies a crucial position in the history of Italian art. He bridged the gap between the medieval past and the Renaissance future, paving the way for artists like Giotto and Maso di Banco to revolutionize painting and sculpture. His workshop dominated Florentine illumination during the first half of the 14th century, shaping the aesthetic landscape of the city. While his name may not be as widely recognized as some of his contemporaries, Pacino’s influence is undeniable. He represents a generation of artists who embraced innovation while remaining deeply rooted in tradition—a delicate balance that ultimately propelled Italian art towards new heights of realism and expressiveness. The rediscovery and continued study of his works offer invaluable insights into the artistic practices, religious beliefs, and cultural values of 14th-century Florence, ensuring his enduring legacy as a visionary artist of the Gothic period. His contribution lies not in radical departures but in the subtle yet significant evolution of style that foreshadowed the Renaissance bloom.
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Look closely
Triptych — Pacino Di Bonaguida
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
"Triptych" is defined by an earthy palette led by espresso (#463632).
The colors of "Triptych" show a soft shadow luminance.
"Triptych" was created by Pacino Di Bonaguida. The information on this page describes Pacino Di Bonaguida's original work.