Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 30 obras de Andrea Di Bartolo em nosso catálogo
Em resumo
Aos olhos da galeria, a pintura mais famosa de Andrea Di Bartolo é Coronation of the Virgin (1410), cuja obra original está exposta no Pinacoteca di Brera, em Milão. St. Jerome in the Wildrness (1515) e The Presentation of the Virgin in the Temple (1400) completam o trio que todos reconhecem. Dos 30 trabalhos de Andrea Di Bartolo em nosso catálogo, a galeria apresenta abaixo as 28 obras mais famosas, cada uma original, com seu ano, seu museu e o que a torna única.
To stand before this depiction of the Coronation of the Virgin is to be transported across the veil of time, into a realm where earthly grandeur meets divine glory. The scene unfolds with breathtaking solemnity and vibrant energy, capturing that singular moment when Mary, the Mother of God, is elevated to her heavenly throne. Andrea di Bartolo’s masterful hand guides our gaze through this sacred gathering, presenting not merely an…
In the quiet, rugged expanse of a landscape that feels more European than Syrian, we encounter a moment of profound spiritual intensity. St. Jerome in the Wilderness is not merely a depiction of a saint; it is an immersive experience of penance and prayer. As the viewer’s eye meets the kneeling figure of St. Jerome, there is an immediate sense of the weight of devotion. The artist captures the saint…
The Presentation of the Virgin in the Temple by Andrea Di Bartolo captures a pivotal moment from the life of the Madonna. Created about 1400/1405, the work illustrates the young Virgin Mary taking leave of her parents, Anna and Joachim. This narrative is drawn from an apocryphal account attributed to the evangelist Matthew, rather than the canonical Gospels.
![Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] (1380) de Andrea Di Bartolo](/media/artworks/images-full/af/41/af417e3eb41ddef349e93ac33b37d2d0.jpg)
The late 14th-century Sienese School finds a profound expression in this tempera and gold leaf panel. Seated upon a patterned cushion, the Virgin Mary nurtures the infant Christ, a composition that emphasizes maternal intimacy within a rigid, hierarchical structure. The gold ground provides a non-naturalistic, divine backdrop, reflecting an omnipresent light that transcends earthly space. This portable altarpiece, dated to approximately 1380, utilizes a vertical arrangement to guide the viewer…
![Christ on the Cross [reverse] (1380) de Andrea Di Bartolo](/media/artworks/images-full/5b/3b/5b3b42a460d2fd5d2abb04b2d11c236c.jpg)
The viewer encounters Christ on the Cross [reverse], a work by Andrea Di Bartolo that dates to about 1380/1390. This panel functions as a simplified version of a portable diptych, a small and intimate object designed for private contemplation. While the obverse of such an icon typically presents a Madonna and Child, this specific side focuses entirely on the central figure of the Crucifixion. It is a quiet, solitary scene…
In this panoramic composition, we find ourselves witnessing a profound moment of religious tragedy. The scene is crowded, filled with a dense assembly of mourners and soldiers that presses against the foreground, creating a sense of immediate, heavy presence. At the center, the figure of Christ is suspended on the cross, flanked by two thieves, while angels hover within the sky above. The composition is characteristic of the Sienese Gothic…
The composition ascends vertically, guiding the eye from the earthly realm toward a divine summit. At the center of this spiritual movement, the Virgin Mary rises through layers of angelic figures, her presence framed by a background of gold leaf that eliminates earthly shadows. This Sienese Gothic approach creates a flattened, sacred space where light is even and pervasive. The figures are defined by rhythmic, organic shapes and the precise,…
The gaze meets Den hellige Blasius, a painting that holds a steady, sacred presence. This work by Andrea Di Bartolo brings a singular figure into view, presenting a religious scene or person through the lens of late medieval devotion. The subject, Saint Blasius, emerges from a background of gold, appearing as a quiet pillar of faith. Every line of the figure seems to carry the weight of a prayer, frozen…
The Crucifixion by Andrea Di Bartolo emerges from the shadows of the late fourteenth century, a solemn vision captured around 1400. This work places the viewer directly before the central event of Christian history, presenting the Crucifixion of Jesus Christ with a profound sense of spiritual weight. Every line and color choice works to anchor this sacred moment in a space that feels both otherworldly and deeply felt.
Saint Stephen (panel from the right pilaster of an altarpiece) is a work by Andrea Di Bartolo. This fragmentary panel originated as part of a series of superimposed figures from the right pilaster of an unidentified Italian altarpiece. The wood panel captures the first Christian martyr, Saint Stephen, in a moment of quiet, heavy presence. He is depicted with the symbols of his devotion and his end: a book held…
The Crucifixion with the Virgin, Mary Magdalene and St. John the Evangelist1400 · Vanderbilt Museum of Art
12
Saint Galgano Inviting the People to Adore the Cross1415 · National Gallery of Ireland
13
Christ in Benediction1410 · Detroit Institute of Arts
14
Madonna of Humility, portable altarpiece1410 · Brooklyn Museum
15
The Lamentation1400 · Nationalmuseum
16
Madonna and Child1415
17
Madonna and Child1424 · Detroit Institute of Arts
18
Coronation of the Virgin1405
19
Joachim and Anna Giving Food to the Poor and Offerings to the Temple1405 · National Gallery of Art
20
Saint BishopMusée du Petit Palais
21
Saint Anthony AbbotMusée du Petit Palais
22
Saint CostanzoMusée du Petit Palais
23
Saints Anthony Abbot and Ansano
24
Cristo no Caminho para o Calvário1415 · Fundación Colección Thyssen-Bornemisza
25
The CrucifixionMuseu de Israel
26
St Paul
27
The Nativity of the Virgin1405 · National Gallery of Art
28
Madonna of Humility1400 · Montreal Museum of Fine Arts
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
Os 8 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Andrea Di Bartolo | Pinturas desta lista |
|---|---|---|---|
 National Gallery of Art |
Washington | 5 | The Presentation of the Virgin in the Temple, Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse], Christ on the Cross [reverse] |
 Musée du Petit Palais |
Avignon | 3 | Saint Bishop, Saint Anthony Abbot, Saint Costanzo |
 Detroit Institute of Arts |
Detroit | 2 | Christ in Benediction, Madonna and Child |
 Pinacoteca di Brera |
Milão | 1 | Coronation of the Virgin |
 The Bowes Museum |
Barnard Castle | 1 | St. Jerome in the Wildrness |
 Metropolitan Museum of Art |
Nova York | 1 | The Crucifixion |
 Virginia Museum of Fine Arts |
Richmond | 1 | The Assumption of the Virgin with St. Thomas and Two Donors (Ser Palamedes and his Son Matthew) |
 National Museum of Art, Architecture and Design |
Oslo | 1 | Den hellige Blasius |
Escolha uma década para ver a obra original que a define.
The late 14th-century Sienese School finds a profound expression in this tempera and gold leaf panel. Seated upon a patterned cushion, the Virgin Mary nurtures the infant Christ, a composition that emphasizes maternal intimacy within a rigid, hierarchical structure. The gold ground provides a non-naturalistic, divine backdrop, reflecting an omnipresent light that transcends earthly space. This portable altarpiece, dated to approximately 1380, utilizes a vertical arrangement to guide the viewer…
The composition ascends vertically, guiding the eye from the earthly realm toward a divine summit. At the center of this spiritual movement, the Virgin Mary rises through layers of angelic figures, her presence framed by a background of gold leaf that eliminates earthly shadows. This Sienese Gothic approach creates a flattened, sacred space where light is even and pervasive. The figures are defined by rhythmic, organic shapes and the precise,…
The Presentation of the Virgin in the Temple by Andrea Di Bartolo captures a pivotal moment from the life of the Madonna. Created about 1400/1405, the work illustrates the young Virgin Mary taking leave of her parents, Anna and Joachim. This narrative is drawn from an apocryphal account attributed to the evangelist Matthew, rather than the canonical Gospels.
To stand before this depiction of the Coronation of the Virgin is to be transported across the veil of time, into a realm where earthly grandeur meets divine glory. The scene unfolds with breathtaking solemnity and vibrant energy, capturing that singular moment when Mary, the Mother of God, is elevated to her heavenly throne. Andrea di Bartolo’s masterful hand guides our gaze through this sacred gathering, presenting not merely an…
The Madonna and Child is a sacred depiction by the Italian artist Andrea Di Bartolo. This work belongs to the Sienese School, a tradition that shaped the visual language of central Italy. The artist, a versatile creator who worked as a painter, stained glass designer, and illuminator, captured this intimate moment of devotion. His hand moved with the precision required for both large altarpieces and the delicate details of illuminated…
Coronation of the Virgin (1410), Pinacoteca di Brera, Milão. St. Jerome in the Wildrness (1515) e The Presentation of the Virgin in the Temple (1400) vêm a seguir.
50 anos: Coronation of the Virgin data de 1410, e Andrea Di Bartolo nasceu em 1360.
Coronation of the Virgin, St. Jerome in the Wildrness, The Presentation of the Virgin in the Temple, Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse], Christ on the Cross [reverse], The Crucifixion, The Assumption of the Virgin with St. Thomas and Two Donors (Ser Palamedes and his Son Matthew), Den hellige Blasius, The Crucifixion e Saint Stephen (panel from the right pilaster of an altarpiece). O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 30 obras de Andrea Di Bartolo, datadas de 1380 a 1424.
Principalmente em National Gallery of Art (Washington), Musée du Petit Palais (Avignon) e Detroit Institute of Arts (Detroit). A tabela de museus acima lista todos eles.
Em 1400s: 8 das 28 obras nesta página foram feitas então, sendo The Presentation of the Virgin in the Temple delas.
Nesta página, a mais antiga é Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] (1380) e a mais recente é Madonna and Child (1424).
Gold background (14), Woman (7) e Child (6), entre as 28 obras nesta página.
Tempera On Panel, para 19 das 28 obras nesta página.
Sienese school, a julgar pelos originais nesta página.
The Presentation of the Virgin in the Temple, Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] e Christ on the Cross [reverse]: o National Gallery of Art, Washington detém 5 das obras desta página.
No coração vibrante da Escola de Siena, Andrea Di Bartolo emergiu como um mestre cujo pincel capturou a profunda intensidade espiritual de sua era. Como filho e pupilo do proeminente pintor Bartolo di Fredi, a jornada artística de Andrea estava profundamente enraizada nas tradições do atelier de seu pai. Seus primeiros anos foram passados imerso nas prestigiadas encomendas que fluíam pelo estúdio de sua família, um período de aprendizado que lançou as bases para uma carreira definida pela devoção religiosa e maestria técnica. Trabalhando ao lado de luminares como Luca di Tommè, ele contribuiu para obras comunitárias significativas, incluindo um retábulo para a guilda dos sapateiros na catedral de Siena, marcando sua primeira presença documentada nos anais da história da arte.
A arte de Andrea Di Bartolo não se limitava apenas à tela; ele era um criador versátil, atuando como pintor, designer de vitrais e iluminador de manuscritos. Sua obra frequentemente estabelecia uma ponte entre a graça etérea da tradição Gótica e o humanismo emergente que eventualmente definiria o Renascimento. Em seus temas religiosos, encontra-se uma atenção meticulosa aos detalhes e uma capacidade de profundidade narrativa. Seja retratando a quietude solitária de São Jerônimo no Deserto ou a tensão dramática de uma Crucifixão, Andrea possuía a habilidade de ancorar suas composições com estruturas poderosas que conduzem o espectador a um estado de contemplação.
A destreza técnica de Andrea Di Bartolo é mais evidente em sua capacidade de manipular a luz e a textura para evocar emoção. Suas obras frequentemente apresentam uma qualidade luminosa, onde o jogo entre sombra e brilho espelha as lutas espirituais internas de seus temas. Em suas representações de figuras sagradas, há uma sensação palpável de peso e presença; as dobras pesadas e rítmicas das vestes de um cardeal ou a delicada translucidez de um véu são renderizadas com uma precisão que torna o divino tangivelmente humano. Essa maestria permitiu-lhe criar obras que serviam como sermões silenciosos, ricos em um vocabulário simbólico destinado a inspirar piedade nos fiéis.
Além de sua habilidade individual, a importância histórica de Andrea reside em seu papel dentro da paisagem em evolução da Itália central e do norte. Ativo durante o final do século XIV e início do século XV, ele ajudou a manter o prestígio da Escola de Siena durante um período de grande transição. Suas contribuições para retábulos, vitrais e manuscritos iluminados garantiram que sua visão artística permeasse vários aspectos da vida religiosa em Siena e suas cidades vizinhas. Através de sua dedicação tanto à complexidade decorativa de seu ofício quanto à beleza solene de seus temas, Andrea Di Bartolo deixou uma marca indelével no patrimônio visual da Itália.
![Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] (1380), Andrea Di Bartolo](/media/artworks/images-thumb/f3/31/f3317163438ed194835309786408ef36.jpg)
![Christ on the Cross [reverse] (1380), Andrea Di Bartolo](/media/artworks/images-thumb/55/5c/555c73d3771b620115fd27edb2efe4d7.jpg)
