Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 89 teost Bernardo Daddi meie kataloogis
Lühidalt
Kõigist Bernardo Daddi jäetud originaalteostest on kõige kuulsam Saint Gregory the Great (in pinnacle: a Prophet) (1334), mis kuulub Harvard Art Museums kogele linnas Cambridge. Järgnevad sellest Saint Reparata Being Prepared for Execution (1300) ja Saint Reparata before the Emperor Decius (1338). Meie kataloogist löytyb 89 teost kunstnikult Bernardo Daddi; galeriist on säilitatud 89 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
A single figure occupies the center of this vertical wooden panel, suspended against a flat, luminous gold ground. Saint Gregory the Great faces the viewer with a solemn, steady gaze. He is an elderly man, his face etched with the gravity of his station. He wears a white mitre, its surface adorned with a jeweled crown-like band that catches the light. Over his shoulders, a heavy red cope falls in…
The painted panel titled Saint Reparata Being Prepared for Execution is a work by the Florentine artist Bernardo Daddi. This piece dates to approximately 1338–1340. It is a tempera on panel composition that originated as part of a larger series from a high altarpiece. Specifically, the panel functioned as part of a predella, which is a two-tiered base, illustrating eight distinct scenes from the life of the saint.
Saint Reparata before the Emperor Decius is a work by the Florentine painter Bernardo Daddi, executed about 1338. The composition portrays the saint in a confrontation with Emperor Decius. As a patron saint of Florence, Reparata’s life was a central subject of local devotion.
A vertical silhouette emerges from a field of textured gold. St. Catherine of Alexandria is caught in a moment of quietude, her head tilted slightly toward the left. She wears a crown of gold, heavy with dark jewels, resting upon hair that meets the sharp point of a Gothic arch. Her tunic is the color of deep teal, draped in folds that catch the light, while an orange mantle wraps…
To stand before this panel is to encounter the structured devotion of mid-14th century Florence. The composition is governed by a strict verticality, drawing the eye upward toward Christ, who is seated in an upper lobed section. He holds a red book and offers a gesture of blessing, his presence anchored by the formal symmetry of the throne. Below this central figure, the arrangement shifts into a circular medallion, flanked…
We are looking at Arrival of Saint Ursula at Cologne, a work by the Florentine painter Bernardo Daddi. Created about 1333, this piece originates from a period when Daddi was a central figure in the artistic life of Florence. He was an Italian artist who lived from about 1280 to 1348, working through the transition of styles in the early fourteenth century.
To gaze upon this depiction of Saint Dominic receiving divine guidance is to witness art at its most profound—a captured breath from the intersection of earthly devotion and celestial revelation. The scene, rendered with exquisite care, transports the viewer into an intimate architectural space, suggesting a moment so sacred that time itself seems to pause. It is not merely a portrait of a saint; it is an embodiment of spiritual…
In the heart of fourteenth-century Florence, a period defined by the delicate transition from the stylized elegance of the Gothic era to the burgeoning humanism of the Renaissance, Bernardo Daddi emerged as a master of light and devotion. His masterpiece, The Assumption of the Virgin, serves as a breathtaking window into a world where the earthly and the divine intersect. This tempera panel on wood, executed with a meticulous hand…
![Fixed Triptych: in the center, The Virgin and Child surrounded by twenty angels and four saints (John the Baptist and Peter on one side, Paul and Lawrence [?] on the other); on the left, The Nativity; on the right, The (1338) autor Bernardo Daddi](/media/artworks/images-full/37/58/375831847b7950d4d8b4b167786d6c9f.jpg)
This Fixed Triptych: in the center, The Virgin and Child surrounded by twenty angels and four saints (John the Baptist and Peter on one side, Paul and Lawrence [?] on the other); on the left, The Nativity; on the right, The is a work by Bernardo Daddi. The artist, born in Florence, Italy, in 1290, crafted this composition in 1338. His hand guided the brush through the transition of eras…
The air within this architectural space feels heavy with the scent of fruit and the quiet murmur of a communal meal. Sunlight does not strike the scene from a single source; instead, a soft, diffused glow bathes the figures, casting no harsh shadows and creating a sense of eternal, suspended time. We find ourselves looking into a shallow, stage-like room where the boundaries of space are defined by elegant vertical…
Virgin and Child with Saints John the Baptist and Giles, Two Prophets, and Christ the Redeemer1334 · Philadelphia Museum of Art
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The Nativity and the Annunciation to the Shepherds1336 · Museum of Fine Arts
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Saint Paul and a Group of Worshippers1333 · National Gallery of Art
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Saint Reparata Tortured with Red-Hot Irons1337 · Metropolitan Museum of Art
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The Virgin and Child Enthroned with Saints (triptych, closed)1338 · Courtauld Gallery
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Magus Adoring the Infant Christ and Bishop (triptych, right wing) (verso)1338 · Courtauld Gallery
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Four Musical Angels1340 · Christ Church Picture Gallery
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Saint Peter1330 · Courtauld Gallery
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Two Magi and Bishop (triptych, left wing) (verso)1338 · Courtauld Gallery
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The Group of saints.1330 · Czartoryski muuseum
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Birth of Christ1338 · Scottish National Gallery
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Triptych: the Nativity, the Coronation of the Virgin, and the Crucifixion1339 · Gemäldegalerie
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The Virgin and Child, with Christ Blessing1340 · Harvard Art Museums
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Virgin and Child1345 · Yale University Art Gallery
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Holy bishop wit a goldfinch1350 · Bavaria riiklikud maalidema kogumikud
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The Crucifixion (polyptych, panel 3 of 5)1348 · Courtauld Gallery
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Saints Peter and Paul (polyptych, panel 4 of 5)1348 · Courtauld Gallery
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Saints Bartholomew and George (polyptych, panel 2 of 5)1348 · Courtauld Gallery
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Virgin and Child1346 · Isabella Stewart Gardneri muuseum
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Saint Margret and Saint Agnes1507 · Musée des Beaux-Arts de Strasbourg
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Christ on the Cross between the Virgin and Saints Mary Magdalene and John the Evangelist; left panel: The Agony in the Garden and Saints Peter and Paul; right panel: Saints Catherine of Alexandria and1334 · Harvard Art Museums
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The Crucifixion1325 · Metropolitan Museum of Art
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The Virgin Mary with Saints Thomas Aquinas and Paul1335 · J. Paul Getty muuseum
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Madonna and Child Enthroned with Saints1339 · Minneapolis Institute of Art
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Madonna and Child1335 · Vatikani Pinakoteek
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Portable, Double Sided Cross (recto)1340 · Museo Poldi Pezzoli
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Triptych1333 · Loggia del Bigallo
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Virgin and Child with Saint Peter and Saint Paul1340 · Courtauld Gallery
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Coronation of the Virgin1340 · Lindenau-Museum
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The Coronation of the Virgin1340 · National Gallery
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St Catherine of Alexandria with Donor and Christ Blessing (detail)1340 · Museo dell'Opera del Duomo
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Crucifixion1345 · Lindenau-Museum
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Crucifixion1320 · Worcester Art Museum
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Madonna and Child with Saints1320 · Worcester Art Museum
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The Nativity1340 · Metropolitan Museum of Art
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Triptych1335 · Lindenau-Museum
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The Vocation of Saint Dominic1338 · Yale University Art Gallery
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The Crucifixion1325 · National Gallery of Art
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Triptych (detail)1335 · Lindenau-Museum
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The Martyrdom of St Stephen1324 · Santa Croce
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St Catherine of Alexandria with Donor and Christ Blessing1340 · Museo dell'Opera del Duomo
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Crucifixion (detail)1345 · Lindenau-Museum
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Virgin and Child1340 · Thyssen-Bornemisza Museum
54
Madonna and Child with Sts Matthew and Nicholas1328 · Galleria degli Uffizi
55
The Annunciation1335 · Louvre'i muuseum
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Madonna and Child with Saints and Angels d8
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Madonna and Child with Saints1340 · New Orleans Museum of Art
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Orsanmichele Madonna and Child with Angels1346 · Orsanmichele
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Virgin and Child Enthroned with Saints1343 · Museo Horne
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Virgin and Child with Saints1338 · Courtauld Gallery
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Portable, Double Sided Cross (verso)1340 · Museo Poldi Pezzoli
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Triptych1338 · Berliini Riigimuseumid
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The CrucifixionMuseum of Fine Arts
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The NativityWallace Collection
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Madonna and Child Enthroned with Saints
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Madonna and Child Enthroned with Saints
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Madonna and Child with Saints and Angels1345 · National Gallery of Art
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Crucifixion1340 · Collezione Vittorio Cini
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Polyptych of San Pancrazio: Predella panelGalleria degli Uffizi
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Triptych of the Betrothal of St. Catherine Flanked with St. Bartholomew and St. Benedict?Rahvuslik Galerii Praha
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Madonna and Child with Saints and Angels d0
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Madonna and Child with Saints and Angels d6
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Madonna and Child with Saints and Angels d2
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Madonna and Child with Saints and Angels d1
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Madonna and Child with Saints and Angels d3
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Madonna and Child with Saints and Angels d5
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Madonna and Child with Saints and Angels d9
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Madonna and Child with Saints and Angels d7
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Madonna and Child with Saints and Angels d4
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Polyptych of San Pancrazio: Predella panelRoyal Collection
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Polyptych of San Pancrazio: Predella panelGalleria degli Uffizi
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Polyptych of San PancrazioGalleria degli Uffizi
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Saint Pancras Polyptych1338
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Madonna and Child with Sts Matthew and Nicholas1328
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Saint Lawrence1340 · Pinacoteca di Brera
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Polyptych of the Madonna and four saints1332 · Museo Civico
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Crucifix1340 · Museo Bardini
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Story of the true Belt1337 · Museo Civico
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Madonna and Child Enthroned with Angels and Saints1334 · Galleria degli Uffizi
#1 Saint Gregory the Great (in pinnacle: a Prophet)
#3 Saint Reparata before the Emperor Decius
#4 A Crowned Virgin Martyr (St. Catherine of Alexandria)
#5 Christ Enthroned with Saints
![Fixed Triptych: in the center, The Virgin and Child surrounded by twenty angels and four saints (John the Baptist and Peter on one side, Paul and Lawrence [?] on the other); on the left, The Nativity; on the right, The (1338), Bernardo Daddi](/media/artworks/images-thumb/f5/2d/f52d86206b7bcf980b56ec8430260132.jpg)
#9 Fixed Triptych: in the center, The Virgin and Child surrounded by twenty angels and four saints (John the Baptist and Peter on one side, Paul and Lawrence [?] on the other); on the left, The Nativity; on the right, The
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Bernardo Daddi teosid | Selle nimekirja maalid |
|---|---|---|---|
 Courtauld Gallery |
London | 9 | The Virgin and Child Enthroned with Saints (triptych, closed), Magus Adoring the Infant Christ and Bishop (triptych, right wing) (verso), Saint Peter |
 Metropolitan Museum of Art |
New York | 7 | Saint Reparata Being Prepared for Execution, Saint Reparata before the Emperor Decius, Christ Enthroned with Saints |
 Lindenau-Museum |
Altengau | 5 | Coronation of the Virgin, Crucifixion, Triptych |
 Galleria degli Uffizi |
Firenze | 5 | Madonna and Child with Sts Matthew and Nicholas, Polyptych of San Pancrazio: Predella panel, Polyptych of San Pancrazio: Predella panel |
 Harvard Art Museums |
Cambridge | 3 | Saint Gregory the Great (in pinnacle: a Prophet), The Virgin and Child, with Christ Blessing, Christ on the Cross between the Virgin and Saints Mary Magdalene and John the Evangelist; left panel: The Agony in the Garden and Saints Peter and Paul; right panel: Saints Catherine of Alexandria and |
 National Gallery of Art |
Washington | 3 | Saint Paul and a Group of Worshippers, The Crucifixion, Madonna and Child with Saints and Angels |
 J. Paul Getty muuseum |
Los Angeles | 2 | Arrival of Saint Ursula at Cologne, The Virgin Mary with Saints Thomas Aquinas and Paul |
 Berliini Riigimuseumid |
Berliin | 2 | The Temptation of St Thomas Aquinas, Triptych |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
The painted panel titled Saint Reparata Being Prepared for Execution is a work by the Florentine artist Bernardo Daddi. This piece dates to approximately 1338–1340. It is a tempera on panel composition that originated as part of a larger series from a high altarpiece. Specifically, the panel functioned as part of a predella, which is a two-tiered base, illustrating eight distinct scenes from the life of the saint.
The Crucifixion by Bernardo Daddi is a religious work dating to 1345. The composition focuses on the Crucifixion of Jesus Christ, a central subject in Christian iconography. This piece belongs to the Gothic Renaissance tradition, reflecting the stylistic developments of the mid-fourteenth century.
A single figure occupies the center of this vertical wooden panel, suspended against a flat, luminous gold ground. Saint Gregory the Great faces the viewer with a solemn, steady gaze. He is an elderly man, his face etched with the gravity of his station. He wears a white mitre, its surface adorned with a jeweled crown-like band that catches the light. Over his shoulders, a heavy red cope falls in…
A vertical silhouette emerges from a field of textured gold. St. Catherine of Alexandria is caught in a moment of quietude, her head tilted slightly toward the left. She wears a crown of gold, heavy with dark jewels, resting upon hair that meets the sharp point of a Gothic arch. Her tunic is the color of deep teal, draped in folds that catch the light, while an orange mantle wraps…
Saint Gregory the Great (in pinnacle: a Prophet) (1334), Harvard Art Museums, Cambridge. Järgnevad Saint Reparata Being Prepared for Execution (1300) ja Saint Reparata before the Emperor Decius (1338).
44 aastat vanus: teos Saint Gregory the Great (in pinnacle: a Prophet) on pärinev aastast 1334 ning Bernardo Daddi sündis aastal 1290.
Saint Gregory the Great (in pinnacle: a Prophet), Saint Reparata Being Prepared for Execution, Saint Reparata before the Emperor Decius, A Crowned Virgin Martyr (St. Catherine of Alexandria), Christ Enthroned with Saints, Arrival of Saint Ursula at Cologne, The Temptation of St Thomas Aquinas, The Assumption of the Virgin, Fixed Triptych: in the center, The Virgin and Child surrounded by twenty angels and four saints (John the Baptist and Peter on one side, Paul and Lawrence [?] on the other); on the left, The Nativity; on the right, The ja The Wedding Feast of St Cecilia. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 89 teost kunstnikult Bernardo Daddi, mis on pärinevad ajastust 1300 kuni 1348.
Peamiselt Courtauld Gallery (London), Metropolitan Museum of Art (New York) ja Lindenau-Museum (Altengau) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1330s: 33 89 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Saint Gregory the Great (in pinnacle: a Prophet).
Sellel lehel on kõige vanem teos Saint Reparata Being Prepared for Execution (1300) ja kõige värskeim The Crucifixion (polyptych, panel 3 of 5) (1348).
Saints (27), Gold background (23) ja Angels (23), kogu selle lehekülje 89 teose kohta.
Tempera On Panel, 45 teoseks 89 töödelt sellel lehel.
Gothic ja Proto-renaissance, seda lähtudes selle lehe originaalteostest.
The Virgin and Child Enthroned with Saints (triptych, closed), Magus Adoring the Infant Christ and Bishop (triptych, right wing) (verso) ja Saint Peter: Courtauld Gallery, London säilitab 9 selle lehel olevat teost.
Bernardo Daddi, kes sündis Florentsis umbes 1290. aastal ja suri 1348. aastal, on võtmetähtsusega tegelane hilispika gootika ja alguse sainud itaalse renessanssi ülem переходusajal. Ta ei olnud revolutsiooniline ikonoklast, kes purustas üle nottu kehtivad konventsioonid, vaid pigem meistrlik käsitööline kunstnik, kes muutas oma ajastu kunstimaastiku peenelt, kuid sügavalt, eriti elavs FLorentsi linnas. Sageli kirjeldatakse teda oma põlvkonna "juhtkava maalarina" ja Daddi pärand ei peitu radikaalses kõrvalekalduses, vaid mõõdetud evolutsioonis — olemasolevate tehnikate hoolikas tärakujundamine ja realismi pühendumine, mis märkis kriitilist sammu renessanssi humanistiliste teilide poole.
Daddi täpne sünniaeg on endiselt teatud määral hämar, kuigi dokumendid viitavad, et teda mainiti esimest korda 1312. aastal. On laialt usutud, et tema kunstiline teekond algas ühe ajastu mõjuaimast kunstnikust Giotto di Bondonest. Giotto rõhuasetus naturalismile ja emotsionaalsele avaldusele kujundas ilmselt vältimatu viisil Daddi varajast stiili. Tema esiletõstuvad teosed näitavad selget seost Giotto jäljendajatega — meistritega nagu "Santa Cecilia meistri" ja teiste 14. sajandi esimese neljaaja Florentsi maalari tegija — peegeldades otsest kunstilist pärimust. Need varajased teosed näitavad stiililist truudust, kasutades gootika traditsioonile omaseid tehnikaid, samal ajal vihjates kasvavale realismile, mis määraks tema hilisema karjääri. Selle perioodi iseloomulik hoolikas detailikäsitlus ja eraldavad värvid viitavad tugevale alustusele establishedud praktikates, kuid koosilmastuvate tundlikkusega inimfiguuri ja emotsioonide kujundamisel.
Daddi kunstiline stiil esindab olulist kõrvalekaldet gootika kunstis valitsevast stiliseeritud ja sageli sümboolikast täidetud pildikeelest. Ta püeles saavutada reaalsuse täpsemat ja usaldusväärsemat esitamist — mis on renessanssi üks põhiline vundament. See muutus on eriti nähtav tema väiksem Maßusega teostes, kus ta suutis suurepäraselt detailidega kujundada tekstuure, kangast ja näha silma pilgu kätte jäävaid nägid.
Kriitiliselt oluline on Daddi roll kannastatavate altaripildide formaadi populariseerimisel. Need mitme paneeliga kompositsioonid, mis olid mõeldud kirikutes ja laipades näitamiseks, võimaldasid suuremat narratiivset keerukust ja visuaalset rikkust kui traditsioonilised seinamaalid. Daddi hilisem stiil, mis sai mõjutuseks Maso di Banco, demonstreerib suurendatud tärakujundamist — peenud elegantsi, mis varjab teatud akadeemilist täpsust. See lyrilise ilu ja tehnilise oskuse kooslus on see, mis eristab tema tööd ja kinnitas tema positsiooni kui juhtkava florentsinel maalari.
Bernardo Daddi kunstiline looming on jätnud tematu jälje maailma prestiižsete muuseumide kogenditele. Florentsi Uffizi Galerias asub oluline 1328. aastast pärit triptüük, mis pakub lummavat vaadet tema kompositsioonioskustele ja jutustamisoskusele. Samuti märkimisväärne on Vatikaani Pinacoteca poes asuv "Püha Stefano martyrdom" — predella, mis koosneb kaheksast paneelistest, mida maalistati umbes 1av 1345. Lisaks neile ikoonilistele teostele on Daddi mõju nähtav arvukates teostes institutsioonides nagu National Gallery of Art ja Walters Art Museum. Näiteks tema "Protsessioonikrusifiks" demonstreerib tema võimet tabada liikumust ja detaile suhteliselt väikeses formaadis. Courtauld Institute of Art hoidab mitut paneeli teosest "Neja Kroonimine", näidates tema meistriklassi religioossete figuuride ja nende ümbritsevate asjade kujundamisel.
Daddi kunstiline areng ei olnud juurdunud pelgalt Giotto õpetustes; teda mõjutasid ka Lorenzetti siena stiil, mille rõhuasetus kodanikule väärtustele ja naturalismile resonantsis Daddi enda esteetiliste meelduvustega. Tema viimane tuntud teos kuulub 1347. aastale ning kahju enough lahkus ta shortly pärast seda. Hoolimata teatud "akadeemilisest ja mehaanilisest karmusest", mida mõned kriitikud märkinud on — omadus, mis võib tulineda tema töökoda produktiivsest väljundist — tagas Daddi lyriline elegants ja tehniline oskus tema püsiva pärandi. Ta sildas tühimust gootika minevikku ja alguse sainud renessanssi vahel, kujundades Florentsi visuaalset keelt ja jättes järele teoseid, mis võlustavad vaatajatega ka täna. Tema panus kannastatavate altaripildide arendamisse ja pühendumus realistlikule kujundamisele pani aluse tulevasi Itaalia kunstnike põlvkondadele.
