Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 30 del v našem katalogu avtorja Andrea Di Bartolo
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Za oči galerije je najbolj znano sliko umetnika Andrea Di Bartolo delo Coronation of the Virgin (1410), katere original visi v muzeju Pinacoteca di Brera, Milano. St. Jerome in the Wildrness (1515) in The Presentation of the Virgin in the Temple (1400) dopolnjujeta trijo, ki jo prepozna vsak pogled. Od 30 del avtorja Andrea Di Bartolo v našem katalogu galerija spodaj predstavlja 28 najbolj znanih; vsako je original z letom nastanka, pripadajočim mu muzejem in opisom tistega, kar ga dela edinstavnim.
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) avtorja 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) avtorja 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
Kristus na poti v Kalvarijo1415 · Fundación Colección Thyssen-Bornemisza
25
The CrucifixionIzraelski muzej
26
St Paul
27
The Nativity of the Virgin1405 · National Gallery of Art
28
Madonna of Humility1400 · Montreal Museum of Fine Arts
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Andrea Di Bartolo | Slike iz tega seznama |
|---|---|---|---|
 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 |
Milano | 1 | Coronation of the Virgin |
 The Bowes Museum |
Barnard Castle | 1 | St. Jerome in the Wildrness |
 Metropolitanski muzej umetnosti |
New 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) |
 Narodni muzej za umetnost, arhitekturo in dizajn |
Oslo | 1 | Den hellige Blasius |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
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, Milano. Zatem sledeta St. Jerome in the Wildrness (1515) in The Presentation of the Virgin in the Temple (1400).
50 let: delo Coronation of the Virgin iz leta 1410, Andrea Di Bartolo pa je bil/a rojen/a leta 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 in Saint Stephen (panel from the right pilaster of an altarpiece). Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 30 del avtorja Andrea Di Bartolo, datiranih od 1380 do 1424.
Večini v National Gallery of Art (Washington), Musée du Petit Palais (Avignon) in Detroit Institute of Arts (Detroit). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1400s: 8 od 28 del na tej strani je bilo izdelovanih takrat, med njimi pa The Presentation of the Virgin in the Temple.
Na tej strani je najstarejše delo iz Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] (1380) in najstarejše iz Madonna and Child (1424).
Gold background (14), Woman (7) in Child (6), na 28 delih na tej strani.
Tempera On Panel, za 19 od 28 del na tej strani.
Sienese school, glede na originala na tej strani.
The Presentation of the Virgin in the Temple, Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] in Christ on the Cross [reverse]: v muzeju National Gallery of Art, Washington se nahaja 5 del z te strani.
V živahnem srcu sienske šole se je pojavil Andrea Di Bartolo, mojster, katerega čopatica je zajela globoko duhovno intenzivnost njegove dobe. Kot sin in učenec znamenitega slikarja Bartolo di Fredi je bila Andrea Di Bartolo umetniška pot globoko zakorenjena v tradicijah očetovega ateljeja. Njegove zgodnje leta so bila potopljena v prestižne naročine, ki so prehajale skozi studiot njegove družine, kar je bila obdobja učeništva, ki je postavilo temelj karieri, ki jo je opredelila religiozna predanost in tehnično znanje. Sodelovanje z velikani, kot je Luca di Tommè, je prisdelalo pomembnim komunalnim delom, vključno z oltarjem za čevapkarjevo guild v katedrali v Sieni, kar je označilo njegovo prvo dokumentirano prisotje v letopisu zgodovine umetnosti.
Umetnost Andrea Di Bartolo se ni omejevala le na platno; bil je vsestranski ustvarjalec, ki je deloval kot slikar, oblikoval vitraže in iluminator rokopisov. Njegovo del je pogosto premostilo razpino med eterično eleganco gotike in razvijajoči se humanizem, ki bo kasneje opredelil Renesanso. V njegovih religioznih motivih najdemo skrbno pozornost detajlov in sposobnost narativne globine. Ne glede na to, ali je prikazoval tiho samotnost sv. Jeronima na divjavi ali dramatično napetost Krsta, je imel Andrea sposobnost, da svoje kompozicije utrdi z močnimi strukturami, ki gledalca privedejo v stanje kontemplacije.
Tehnična izpostavljenost Andrea Di Bartolo je najbolj očitna v njegovi sposobnosti manipulacije svetlobo in teksturo za vzbuditev čutev. Njegova dela pogosto izkazujejo svetlobno kakovost, kjer se igra senčevine in sijaja zrcali notranje duhovne borbe njegovih motivov. V njegovih prikazih svetih postaci je opaziti čut teže in prisotnosti; težki, ritmični gubi v kardinalovih oblačilih ali nežna prosočnost velja so podane z natančnostjo, ki povzroča, da se božansko zdi oprijemljivo človeško. Ta mojstrovina mu je omogočila ustvarjanje del, ki so služila kot tiha klasična beseda, bogata s simboličnim nabožjem, namenjenim navdihovanju pobožnosti vernikov.
Poleg njegove individualne veščine leži zgodovinski pomen Andrea Di Bartolo v njegovi vlogi v razvijajoči se pokrajini srednje in severne Italije. Aktiven skozi pozno tridesetke in zgodnje petindesete 15. stoletja je pomagal ohraniti ugled sienske šole v obdobju velike tranzicije. Njegov prispevek k oltarjem, vitražem in iluminiranim rokopisom je zagotovil, da je njegova umetniška vizija prežela različne vidike religioznega življenja v Sieni in okolici. Skozi svojo predanost tako dekorativni kompleksnosti svoje zanime in resničnemu lepotnemu izrazu svojih motivov je Andrea Di Bartolo pustil neizbrisno pečat na vizualni dediščini Italije.
![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)
