Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 32 djela Bartolo Di Fredi u našem katalogu
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Iz perspektive galerije, najpoznatije djelo umjetnika Bartolo Di Fredi je The Annunciation to Joachim (1383), čiji se original nalazi u muzeju Vatikan Pinacoteca, Vatikanski grad. The Holy Trinity (Trinity Altarpiece) (1350) i Saint Dominic (Trinity altarpiece) (1350) upotpunjuju triju koju svako oko prepoznaje. Od 32 djela umjetnika Bartolo Di Fredi u našem katalogu, galerija u nastavku prikazuje 29 najpoznatijih, od kojih je svako originalno, s navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
In the delicate interplay of light and shadow within The Annunciation to Joachim, we are transported back to the year 1383, into the heart of a spiritual awakening. This exquisite work by the Sienese master Bartolo di Fredi captures a moment of profound celestial communication, where the earthly and the divine converge. The scene unfolds with a rhythmic grace, presenting a landscape populated not just by figures, but by a…
The composition is structured around a rigid, symmetrical hierarchy that defines the spiritual order of the late Gothic period. At the center, God the Father sits upon a stepped, architectural throne, supporting the weight of the wooden cross. Upon this cross, Christ is crucified, a central focus of the theological narrative. Flanking this central group are the figures of Mary and Saint John the Evangelist, their presence framing the sacrifice.…
The Saint Dominic (Trinity altarpiece) emerges from the late fourteenth century, a period where the Sienese School continues to whisper its sacred traditions. Painted by Bartolo di Fredi, this work exists as a polyptych of four panels, a structure that organizes the divine into distinct, readable moments. The artist, a prominent figure in the artistic life of Siena, Italy, brings a specific sense of order to this devotional object. It…
The Virgin of the Annunciation is a painting by Bartolo di Fredi. This work is dated about 1350. The artist, Bartolo di Fredi, was born in Siena, Italy, in 1330. He remained a presence in the Sienese tradition until his death in 1410.
The crucifixion, executed by Bartolo di Fredi in 1377, represents a significant contribution to the Sienese School. Working from Siena, Italy, the artist developed a style that moved away from the heavy, concrete figures of his predecessors. Instead, Fredi favored flatter, decorative compositions that emphasized an otherworldly quality. This approach allowed for a focus on symbolic beauty rather than strict physical realism.
This work, titled Madonna and Child, was executed by the Sienese painter Bartolo di Fredi. Born in Siena, Italy, in 1330, the artist remained a significant figure in the Tuscan tradition until his death in 1410. This specific piece belongs to the genre of religious art, focusing on a subject matter rooted in religious iconology.
The scene unfolds through The Adoration of the Magi, a work that carries the hand of the Sienese painter Bartolo di Fredi. Created around 1385, the painting captures a moment of profound spiritual encounter. Within this sacred space, the Magi offer their reverence to the infant Jesus, a central event that anchors the entire composition. The figures move through a landscape that feels both physical and celestial, drawing the eye…
The tempera on panel depicts seven holy figures arranged in a dense, overlapping composition. These figures are positioned within a shallow space, creating a sense of layered depth through their physical placement. Each saint is rendered with a distinct profile or three-quarter view, their gazes directed upward in a gesture of prayerful adoration. The background consists of a flat, gilded surface, where gold leaf forms both the setting and the…
The panel unfolds in three distinct vignettes, a narrative sequence carved from the ruggedness of the Sienese landscape. Dark, jagged outcroppings of rock rise like teeth against a sky of luminous gold leaf. Within these stony enclosures, ascetic figures dwell in quiet contemplation. The earth is rendered in deep ochres and browns, a somber stage for the spiritual drama of the hermits. A lion rests near a figure, its presence…
The panel titled Scenes from the Life of Sacred Hermits presents a series of quiet, spiritual vignettes. This work is attributed to the workshop of Bartolo di Fredi, a painter active in Siena, Italy. The scenes likely emerged from the artist's studio around 1380. Within the busy movement of the workshop, the hand of the artist's son, Andrea, may have brushed these surfaces alongside his father.
Saint Mary Magdalen1400 · Metropolitan Museum of Art
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The Coronation of the Virgin1388 · Museo Civico e Diocesano d'Arte Sacra
13
Virgin Annunciate1370 · Yale University Art Gallery
14
Untitled (D2XAHZ)1390 · Metropolitan Museum of Art
15
Annunciation1383 · Szépművészeti Múzeum
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The Adoration of the Magi1385 · Pinacoteca Nazionale
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The Adoration of the Shepherds1374 · The Met Cloisters
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The Coronation of the Virgin (detail)1388 · Museo Civico e Diocesano d'Arte Sacra
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A Papal Saint (Saint Gregory the Great?)Muzej likovnih umjetnosti
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Pinacoteca vaticana
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Nativity and Adoration of the Shepherds1383 · Vatikan Pinacoteca
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Altarpiece of the Trinity
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Annunciation to the Shepherds
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Triptych of the Cappella delle Carceri in San Francesco to Montalcino
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Saint augustine.
26
The devil gets groped by God of Job, fresco by Bartolo di Fredi (Duomo di San Gimignano)
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Abraham is divided by Lot in the land of Canaan, fresco by Bartolo di Fredi (Duomo di San Gimignano)
28
Killing of the servants of Job, Fresco by Bartolo di Fredi, the cathedral of San Gimignano
29
The Presentation in the TempleLouvre
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Bartolo Di Fredi | Slike iz ovog popisa |
|---|---|---|---|
 Vatikan Pinacoteca |
Vatikanski grad | 2 | The Annunciation to Joachim, Nativity and Adoration of the Shepherds |
 Musée des beaux-arts de Chambéry |
Chambery | 2 | The Holy Trinity (Trinity Altarpiece), Saint Dominic (Trinity altarpiece) |
 Gemäldegalerie |
Berlin | 2 | Scenes from the Life of Sacred Hermits, Scenes from the Life of Sacred Hermits |
 Metropolitan Museum of Art |
New York | 2 | Saint Mary Magdalen, Untitled (D2XAHZ) |
 Museo Civico e Diocesano d'Arte Sacra |
Montalcino | 2 | The Coronation of the Virgin, The Coronation of the Virgin (detail) |
 Musée du Petit Palais |
Avignon | 1 | The Virgin of the Annunciation |
 Lindenau museum |
Altenburg | 1 | The crucifixion |
 Rhode Island School of Design Museum of Art |
Providence | 1 | Madonna and Child |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
The composition is structured around a rigid, symmetrical hierarchy that defines the spiritual order of the late Gothic period. At the center, God the Father sits upon a stepped, architectural throne, supporting the weight of the wooden cross. Upon this cross, Christ is crucified, a central focus of the theological narrative. Flanking this central group are the figures of Mary and Saint John the Evangelist, their presence framing the sacrifice.…
The crucifixion, executed by Bartolo di Fredi in 1377, represents a significant contribution to the Sienese School. Working from Siena, Italy, the artist developed a style that moved away from the heavy, concrete figures of his predecessors. Instead, Fredi favored flatter, decorative compositions that emphasized an otherworldly quality. This approach allowed for a focus on symbolic beauty rather than strict physical realism.
In the delicate interplay of light and shadow within The Annunciation to Joachim, we are transported back to the year 1383, into the heart of a spiritual awakening. This exquisite work by the Sienese master Bartolo di Fredi captures a moment of profound celestial communication, where the earthly and the divine converge. The scene unfolds with a rhythmic grace, presenting a landscape populated not just by figures, but by a…
To gaze upon this depiction of the Adoration of the Magi is to step directly into the devotional heart of Quattrocento Siena. The scene unfolds with an almost palpable sense of sacred drama, capturing that pivotal moment when earthly homage meets divine mystery. At its core lies the tender tableau of Mary cradling the Christ Child, surrounded by the solemn grandeur of the three wise kings. These figures are not…
Saint Mary Magdalen is a religious icon by the Sienese painter Bartolo di Fredi. Created about 1400, the work belongs to the Sienese School, a tradition characterized by decorative complexity and a focus on spiritual stillness. The subject is presented as a solitary figure, a common approach for devotional objects of this period.
The Annunciation to Joachim (1383), Vatikan Pinacoteca, Vatikanski grad. Nakon njih slijede The Holy Trinity (Trinity Altarpiece) (1350) i Saint Dominic (Trinity altarpiece) (1350).
53 godina: The Annunciation to Joachim datira iz 1383, a Bartolo Di Fredi je rođen/a 1330.
The Annunciation to Joachim, The Holy Trinity (Trinity Altarpiece), Saint Dominic (Trinity altarpiece), The Virgin of the Annunciation, The crucifixion, Madonna and Child, The Adoration of the Magi, Seven Saints in Adoration, Scenes from the Life of Sacred Hermits i Scenes from the Life of Sacred Hermits. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 32 djela umjetnika Bartolo Di Fredi, datiranih od 1350 do 1400.
Većinom u Vatikan Pinacoteca (Vatikanski grad), Musée des beaux-arts de Chambéry (Chambery) i Gemäldegalerie (Berlin). Gornja tablica muzeja navodi sve njih.
U 1380s: 11 od 29 djela na ovoj stranici nastalo je tada, od čega je The Annunciation to Joachim The Annunciation to Joachim.
Na ovoj stranici najstarije djelo je iz The Holy Trinity (Trinity Altarpiece) (1350), a najnovije iz Saint Mary Magdalen (1400).
Gold background (9), Woman (7) i Religious scene (5), kroz svih 29 djela na ovoj stranici.
Tempera On Panel, za 15 od 29 djela na ovoj stranici.
Sienese school, sudeći po originalima na ovoj stranici.
The Annunciation to Joachim i Nativity and Adoration of the Shepherds: Vatikan Pinacoteca, Vatikanski grad posjeduje 2 djela s ove stranice.
U srcu toskanske četvrte stola, u razdoblju koje je obilježio prijelaz s eterične milosti gotike na usnajući humanizam Renesanse, Bartolo Di Fredi pojavio se kao majstor svjetla i naracije. Rođen u Sijeni oko 1330. godine, bio je više od običnog slikara; bio je most između dva svijeta. Njegovo djelo, često okarakterizirano izvanzemaljskim sjajem i pedantnom posvećenošću detaljima, uhvatilo je duhovni žar njegovog doba, uvodeći istovremeno dekorativnu složenost koja će ostaviti neizbrisiv trag na Sijensku školu. Pogledati remek-djelo koje je stvorio Bartolo Di Fredi znači zakoračiti u kraljevstvo u kojem se sakralno i ornamentalno plešu u savršenoj, pozlaćenoj harmoniji.
Temelji njegove karijere duboko su ukorijenjeni u prestižnim sijenskim eskopima. Do 1355. godine službeno je ušao u Arte dei Maestri di Tavola e Dipinto, što je bio prekretni trenutak koji mu je omogućio pristup najznačajnijim mrežama pokrovitelja u Italiji. Ta profesionalna stabilnost omogućila mu je suradnju s drugim velikaniima tog doba, poput Andree Varge, na monumentalnim projektima kao što je ukrašavanje Sijenske katedrale. Te rane godine bile su formativne, dok je upijao aristokratsku eleganciju Simone Martinija i temeljne tradicije Duccia, usavršavajući stil koji je odbijao hladnoću strogoog realizma u korist emocionalnije, simboličke ljepote.
Možda najfascinantniji dokaz Fredijevog genija nalazi se unutar zidova katedrale u San Gimignanu. Između 1356. i 1367. godine poduzeo je ambiciozan ciklus freski koji je pretvorio lijevi prolaz u živopisni biblijski tapiser. U tim djelima, kao što je snažno Ubojstvo Jobovih sluga, može se svjedočiti njegovoj sposobnosti upravljanja velikodimenzionalnim kompozicijama s intenzivnom dramatičnom napetošću. On nije samo prikazivao scene; on ih je orkestrirao, koristeći boju i pokret kako bi vodio gledatelja kroz priče o dubokoj patnji i božanskoj intervenciji. Njegova tehnika u ovim freskama pokazala je rano majstorstvo u stvaranju iluzionističkog prostora, pomičući granice onoga što je gotički stil mogao postići.
Osim monumentalne veličine njegovih freski, Fredi se izvukao u intimnom mediju oltara. Njegova Objavljenja (1383.) služi kao prototipni primjer njegove sposobnosti spajanja sakralnog s izvrsnim. U ovom djelu, upotreba svjetla nije samo tehničko postignuće već teološki alat koji osvjetljava delikatne detalje Virgininog okruženja i stvara atmosferu duboke svetosti. Njegov pristup slikarstvu na panelima omogućio je razinu ukrašavanja—listić zlata, zamršeni uzorci i fine linije—koja je zadovoljila tadašnju žudnju za raskoš, a pritom zadržala duboki, duhovni fokus.
Povijesni značaj Bartolo Di Fredi leži u njegovoj ulozi stilskog pivotnog elementa. Dok je ostao vjeran dekorativnim tradicijama koje su definirale umjetnost Sijene, posjedovao je urođenu znatiželju za evoluirajućim tehnikama svog vremena. Stajao je na raskrštinju povijesti, čuvajući delikatne, sanjive kvalitete kasnog gotičkog razdoblja, dok je istovremeno pripremao tlo za strukturiraniji, humanocentrični pristup Renesanse. Njegova sposobnost sinteze ovih suprotstavljenih sila stvorila je jedinstveni vizualni jezik koji je bio istovremeno nostalgičan i usmjeren prema budućnosti.
Danas se njegovi doprinosi prepoznaju kao esencijalni sastojci toskanske umjetničke identičnosti. Naslijeđe Bartolo Di Fredi može se sažeti kroz nekoliko ključnih stupova njegovog utjecaja:
Iako su se valovi povijesti umjetnosti na kraju okrenuli prema intenzivnom realizmu kasnijih majstora, blistavi, začarani svijet koji je stvorio Bartolo Di Fredi ostaje vitalno poglavlje u priči o zapadnoj umjetnosti, podsjećajući nas na vrijeme kada je slikarstvo bilo prozor u božansko.
