Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 32 del v našem katalogu avtorja Bartolo Di Fredi
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Za oči galerije je najbolj znano sliko umetnika Bartolo Di Fredi delo The Annunciation to Joachim (1383), katere original visi v muzeju Pinakota Vatikana, Vatikanski grad. The Holy Trinity (Trinity Altarpiece) (1350) in Saint Dominic (Trinity altarpiece) (1350) dopolnjujeta trijo, ki jo prepozna vsak pogled. Od 32 del avtorja Bartolo Di Fredi v našem katalogu galerija spodaj predstavlja 29 najbolj znanih; vsako je original z letom nastanka, pripadajočim mu muzejem in opisom tistega, kar ga dela edinstavnim.
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 · Metropolitanski muzej umetnosti
12
The Coronation of the Virgin1388 · Museo Civico e Diocesano d'Arte Sacra
13
Virgin Annunciate1370 · Yale University Art Gallery
14
Untitled (D2XAHZ)1390 · Metropolitanski muzej umetnosti
15
Annunciation1383 · Muzej lepih umetnosti
16
The Adoration of the Magi1385 · Pinacoteca Nazionale
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The Adoration of the Shepherds1374 · The Met Cloisters
18
The Coronation of the Virgin (detail)1388 · Museo Civico e Diocesano d'Arte Sacra
19
A Papal Saint (Saint Gregory the Great?)Muzej fine arts
20
Pinacoteca vaticana
21
Nativity and Adoration of the Shepherds1383 · Pinakota Vatikana
22
Altarpiece of the Trinity
23
Annunciation to the Shepherds
24
Triptych of the Cappella delle Carceri in San Francesco to Montalcino
25
Saint augustine.
26
The devil gets groped by God of Job, fresco by Bartolo di Fredi (Duomo di San Gimignano)
27
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, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Bartolo Di Fredi | Slike iz tega seznama |
|---|---|---|---|
 Pinakota Vatikana |
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 |
 Metropolitanski muzej umetnosti |
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 |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
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), Pinakota Vatikana, Vatikanski grad. Zatem sledeta The Holy Trinity (Trinity Altarpiece) (1350) in Saint Dominic (Trinity altarpiece) (1350).
53 let: delo The Annunciation to Joachim iz leta 1383, Bartolo Di Fredi pa je bil/a rojen/a leta 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 in Scenes from the Life of Sacred Hermits. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 32 del avtorja Bartolo Di Fredi, datiranih od 1350 do 1400.
Večini v Pinakota Vatikana (Vatikanski grad), Musée des beaux-arts de Chambéry (Chambery) in Gemäldegalerie (Berlin). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1380s: 11 od 29 del na tej strani je bilo izdelovanih takrat, med njimi pa The Annunciation to Joachim.
Na tej strani je najstarejše delo iz The Holy Trinity (Trinity Altarpiece) (1350) in najstarejše iz Saint Mary Magdalen (1400).
Gold background (9), Woman (6) in Religious scene (5), na 29 delih na tej strani.
Tempera On Panel, za 14 od 29 del na tej strani.
Gothic-renaissance synthesis, glede na originala na tej strani.
The Annunciation to Joachim in Nativity and Adoration of the Shepherds: v muzeju Pinakota Vatikana, Vatikanski grad se nahaja 2 del z te strani.
V srcu toskanske štertninovega stoletja, v obdobju, ki ga zaznamuje prehod od eterične elegance gotike do vzpostavljanja humanizma renesanse, se je Bartolo di Fredi pojavil kot mojster luči in pripovedovanja. Rodjen v Sieni okoli leta 1330, ni bil le slikar; bil je most med dvema svetovoma. Njegovo delo, ki ga pogosto zaznamuje nezemljska svetlobnost in metičiozna predanost detajlu, je zajela duhovno vročino njegove dobe, hkrati pa je uvedlo dekorativno kompleksnost, ki bo pustila neizbrisiv след na siensko šolo. Pogled na Fredijevo vrhunsko delo pomeni vstop v kraljestvo, kjer se svetost in okrasje tančita v popolni, pozlaščeni harmoniji.
Fundamenti njegove kariere so bili globoko zakoreninjeni v prestižnih sienskih cehahih. Do leta 1355 je uradno postal član Arte dei Maestri di Tavola e Dipinto, mejnik, ki mu je omogočil dostop do najpomembnejših sponzorskih mrež v Italiji. Ta profesionalna stabilnost mu je omogočila sodelovanje z drugimi svetlavci tistega obdobja, kot je bil Andrea Varga, pri monumentalnih projektih, kot je dekoracija katedrale v Sieni. Te zgodnje leta so bila oblikovalna, saj je vstopil v svet aristokratične elegance Simona Martinija in temeljne tradicije Duccia, s čimer je izpilil slog, ki je zavrnil hladost strogega realizma v korist bolj čutne, simbolične lepote.
Morda najbolj osupljivo spovedanje Fredijevega genija najdemo na steninah katedrale v San Gimignanoju. Med letoma 1356 in 1367 je izvedel ambiciozen ciklus fresk, ki je levo ladjo spremenil v živoprisno biblično tapiserijo. V tem delu, kot je pretresljivo Ubistvo Jobovih služalk, lahko pričujemo za njegovo sposobnost vladanja z velikostnimi kompozicijami z intenzivno dramatično napetostjo. On ni le prikazoval scen; on jih je dirahal, s pomočjo barv in gibanja vodil gledalca skozi zgodbe o globoki trpljenju in božanski intervenciji. Njegova tehnika teh fresk je pokazala zgodnjo obvladljivost iluzionističnega prostora, s čimer je premiknal meje tega, kar je slog gotike sploh lahko dosegel.
Po zunaj monumentalni razmeri njegovih fresk je Fredi izstopal tudi v intimen mediju oltarjev. Njegova Objavitev (1383) služi kot klasičen primer njegove sposobnosti združevanja svetega z nežno čudovitostjo. V tem delu uporaba luči ni le tehnično dosežek, temve v priročnik za teologijo, saj osvetljuje nežne detajle Marijinega okolja in ustvarja vzdušje globoke svetosti. Njegov pristop k slikarstvu na ploščah je omogočil raven okrasja — zlato list, zapletene vzorce in fino linijsko delo — ki je ublažilo željo obdobja po razkošju, hkrati pa ohranilo globok, duhovni fokus.
Zgodovinski pomen Bartola di Fredija leži v njegovi vlogi slogovne os Pivote. Čepol je ostal zvest dekorativnim tradicijam, ki so definirale siensko umetnost, je posedoval vroden radovednost za razvijajočimi se tehnikami svojega časa. Stal je na križišču zgodovine, saj je ohranil nežne, sanljive lastnosti pozne gotike, hkrati pa je pripravljal tla za bolj strukturiran, človeko-centričen pristop renesanse. Njegova sposobnost sinteze teh nasprotujočih silast je ustvarila edinstven vizualni jezik, ki je bil hkrati nostalgičen in usmerjen v prihodnost.
Danes se njegovi prispevki prepoznajo kot bistveni sestavni deli toskanske umetniške identitete. Dediščino Bartola di Fredija lahko povzamemo skozi nekaj ključnih stebrov njegovega vpliva:
Čeprav so valovi umetnostne zgodovine sčasoma odtočili proti intenzivnemu realizmu kasnejših mojstrov, ostaja svetlobna, začarana svet, ki ga je ustvaril Bartolo di Fredi, vitalno poglavje v zgodovini zahodne umetnosti, ki nas opominja na čas, ko je slikarstvo bilo okno v božanstvo.
