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Za ljubitelje galerije, najpoznatije delo umetnika Andrea Di Bartolo je Coronation of the Virgin (1410), čiji se original nalazi u muzeju Pinacoteca di Brera, Milan. St. Jerome in the Wildrness (1515) i The Presentation of the Virgin in the Temple (1400) čine triju koju svako oko prepoznaje. Od 30 dela umetnika Andrea Di Bartolo u našem katalogu, galerija u nastavku predstavlja 28 najpoznatijih dela, od kojih je svako originalno, sa navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
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) čiji je 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) čiji je 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
Христос на пути у Калабрию1415 · 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 koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Andrea Di Bartolo | Slike iz ovog spiska |
|---|---|---|---|
 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 |
Avinjona | 3 | Saint Bishop, Saint Anthony Abbot, Saint Costanzo |
 Detroit Institute of Arts |
Detroit | 2 | Christ in Benediction, Madonna and Child |
 Pinacoteca di Brera |
Milan | 1 | Coronation of the Virgin |
 The Bowes Museum |
Barnard Castle | 1 | St. Jerome in the Wildrness |
 Metropoliten музеј у Њујорку |
Њујорк | 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 |
Izaberite deceniju da biste videli original koji je definiše.
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, Milan. Slede St. Jerome in the Wildrness (1515) i The Presentation of the Virgin in the Temple (1400).
50 godina: Coronation of the Virgin datira iz 1410, a Andrea Di Bartolo je rođen/a 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 i Saint Stephen (panel from the right pilaster of an altarpiece). Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 30 dela umetnika Andrea Di Bartolo, datiranih od 1380 do 1424.
Većinom u National Gallery of Art (Washington), Musée du Petit Palais (Avinjona) i Detroit Institute of Arts (Detroit). Tabela muzeja iznad sadrži njih sve.
U 1400s: 8 od 28 dela na ovoj stranici nastalo je tada, od čega je The Presentation of the Virgin in the Temple.
Na ovoj stranici, najstarije delo je iz Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] (1380), a najnovije iz Madonna and Child (1424).
Gold background (14), Woman (7) i Child (6), kroz svih 28 dela na ovoj stranici.
Tempera On Panel, za 19 od 28 dela na ovoj stranici.
Sienese school, sudeći po originalima na ovoj stranici.
The Presentation of the Virgin in the Temple, Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] i Christ on the Cross [reverse]: National Gallery of Art, Washington čuva 5 dela sa ove stranice.
U živopisnom srcu Sjenske škole, Andrea Di Bartolo se izdvojio kao majstor čija je četkica uhvatila duboku duhovnu intenzitet svog doba. Kao sin i učenik istaknutog slikara Bartolo di Fredi, umetnički put Andree Di Bartolo bio je duboko ukorenjen u tradicijama očevog radionice. Njegove rane godine provedene su u uronjenosti u prestižne narudžbine koje su proticale kroz studio njegove porodice, što je bilo razdoblje učenja koje je postavilo temelje za karijeru koju su definisali religiozna pobožnost i tehničko umeće. Rađajući uz znamenite umetnike kao što je Luca di Tommè, doprineo je značajnim komunalnim delima, uključujući oltar za cech obućara u katedrali u Sijeni, što je označilo njegovo prvo dokumentovano prisustvo u annalsima istorije umetnosti.
Umetničkost Andree Di Bartolo nije bila ograničena samo na platno; bio je to svestrani stvaralac, koji je služio kao slikar, dizajner vitraža i iluminator rukopisa. Njegov rad je često premošćivao jaz između eterične gracioznosti gotičke tradicije i naglog humanizma koji će na kraju definisati Renesansu. U njegovim religioznim temama pronalazi se pedantna pažnja posvećenosti detaljima i sposobnost narativne dubine. Bilo da je prikazivao tiho samoću Svetog Jeronima u pustinji ili dramatičnu napetost unutar Raspeća, Andrea je posedovao sposobnost da svoje kompozicije učvrsti snažnim strukturama koje uvlače posmatrača u stanje kontemplacije.
Tehnička virtuoznost Andree Di Bartolo najočiglednija je u njegovoj sposobnosti da manipuliše svetlošću i teksturom kako bi izazvao emociju. Njegova dela često poseduju luminozan kvalitet, gde igra senki i sjaja odražava unutrašnje duhovne borbe njegovih subjekata. U njegovim prikazima svetih figura postoji opipljiv osećaj težine i prisustva; teški, ritmični nabori kardinalskih odora ili delikatna prozirnost vela prikazani su sa preciznošću koja čini da se božansko doživi kao opipljivo ljudsko. Ovo majstorstvo mu je omogućilo da stvori dela koja su služila kao tihe propovedi, bogate simboličkim rečnikom namenjenim da inspirišu pobožnost vernicima.
Pored njegove individualne veštine, istorijski značaj Andree Di Bartolo leži u njegovoj ulozi unutar evoluirajućeg pejzaža centralne i severne Italije. Aktivan tokom kasnog čim XIV i početka XV veka, pomogao je da se očuva prestiž Sjenske škole tokom perioda velikih tranzicija. Njegov doprinos oltarima, vitražima i iluminovanim rukopisima osigurao je da njegova umetnička vizija prožme različite aspekte religioznog života u Sijeni i njenim okolinama. Kroz svoju posvećenost dekorativnoj složenosti svog zanata i uzvišenom lepotu svojih tema, Andrea Di Bartolo ostavio je neizbrisiv trag na vizuelno nasleđe 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)
