更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 32 件 巴托洛·迪·弗雷迪 作品收录于我们的目录中
简而言之
在画廊看来，巴托洛·迪·弗雷迪 最著名的作品是 The Annunciation to Joachim (1383)，其原作现收藏于 梵蒂冈城 的 梵蒂冈皮那科画廊。 The Holy Trinity (Trinity Altarpiece) (1350) 与 Saint Dominic (Trinity altarpiece) (1350) 共同构成了那组令人过目不忘的艺术三部曲。 在我们的目录中，巴托洛·迪·弗雷迪 共有 32 件作品，画廊为您精选了以下 29 件最著名的原作，并详细列出了每件作品的创作年份、馆藏机构及其独特之处。
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 · 大都会艺术博物馆
12
The Coronation of the Virgin1388 · Museo Civico e Diocesano d'Arte Sacra
13
Virgin Annunciate1370 · 耶鲁大学艺术馆
14
Untitled (D2XAHZ)1390 · 大都会艺术博物馆
15
Annunciation1383 · 布达佩斯美术博物馆
16
The Adoration of the Magi1385 · Pinacoteca Nazionale
17
The Adoration of the Shepherds1374 · 大都会艺术博物馆修道院分馆
18
The Coronation of the Virgin (detail)1388 · Museo Civico e Diocesano d'Arte Sacra
19
A Papal Saint (Saint Gregory the Great?)波士顿美术馆
20
Pinacoteca vaticana
21
Nativity and Adoration of the Shepherds1383 · 梵蒂冈皮那科画廊
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 Temple卢浮宫
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 巴托洛·迪·弗雷迪 的作品 | 此列表中的画作 |
|---|---|---|---|
 梵蒂冈皮那科画廊 |
梵蒂冈城 | 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) |
 柏林国家美术馆 |
柏林 | 2 | Scenes from the Life of Sacred Hermits, Scenes from the Life of Sacred Hermits |
 大都会艺术博物馆 |
纽约 | 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 |
阿维尼翁 | 1 | The Virgin of the Annunciation |
 Lindenau museum |
Altenburg | 1 | The crucifixion |
 Rhode Island School of Design Museum of Art |
普罗维登斯 | 1 | Madonna and Child |
选择一个年代，探索定义该时代的原创杰作。
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)，梵蒂冈皮那科画廊, 梵蒂冈城。紧随其后的是 The Holy Trinity (Trinity Altarpiece) (1350) 和 Saint Dominic (Trinity altarpiece) (1350)。
53岁：The Annunciation to Joachim创作于1383年，巴托洛·迪·弗雷迪出生于1330年。
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 及 Scenes from the Life of Sacred Hermits。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 32 件 巴托洛·迪·弗雷迪 的作品，创作年代从 1350 年至 1400 年。
多见于 梵蒂冈皮那科画廊 (梵蒂冈城), Musée des beaux-arts de Chambéry (Chambery) 及 柏林国家美术馆 (柏林)。上方的博物馆列表列出了所有相关机构。
在 1380s 期间：本页 29 件作品中有 11 件创作于该时期，其中包含 The Annunciation to Joachim 件作品。
在本页面中，最早的作品创作于 The Holy Trinity (Trinity Altarpiece) (1350)，最晚的创作于 Saint Mary Magdalen (1400)。
Gold background (9), Woman (7) 及 Religious scene (5)，共计 29 件作品。
Tempera On Panel，共计 15 件（本页共有 29 件作品）。
根据本页面的原作，Sienese school
The Annunciation to Joachim 及 Nativity and Adoration of the Shepherds：梵蒂冈皮那科画廊, 梵蒂冈城收藏了本页中 2 件作品。
在14世纪托斯卡纳的心脏地带，那是一个从哥特式时代的空灵优雅向文艺复兴时期蓬勃的人文主义过渡的时代，巴托洛·迪·弗雷迪作为光影与叙事的巨匠脱颖而出。他于1330年左右出生于锡耶纳，他不仅仅是一位画家，更是连接两个世界的桥梁。他的作品往往以一种超凡脱俗的光泽感和对细节的极致追求为特征，在捕捉时代精神热忱的同时，引入了一种复杂的装饰性美感，为锡耶纳画派留下了不可磨灭的印记。凝视巴托洛·迪·弗雷迪的杰作，仿佛进入了一个神圣与装饰在金碧辉煌中完美共舞的境界。
他的职业生涯根植于锡耶纳享有盛誉的行会。到1355年，他正式加入了Arte dei Maestri di Tavola e Dipinto（画板与绘画大师行会），这一里程碑使他得以接触到意大利最重要的赞助网络。这种职业上的稳定性使他能够与同时代的其他艺术巨匠合作，例如与安德烈亚·维加（Andrea Varga）共同参与锡耶纳大教堂装饰等宏伟项目。这些早年岁月对他影响深远，他吸收了西蒙尼·马蒂尼的贵族式优雅和杜乔的奠基性传统，并不断完善自己的风格——他拒绝了严苛写实主义的冰冷，转而追求一种更具情感感染力和象征意义的美感。
或许，巴托洛·迪·弗雷迪天才才华最令人屏息的见证，就隐藏在圣吉米尼亚诺大教堂的墙壁之中。在1356年至1367年间，他承担了一项宏大的湿壁画创作任务，将教堂的左侧走廊变成了一幅生动的圣经织锦。在这些作品中，例如那场令人震撼的杀害约伯仆人，人们可以目睹他掌控大规模构图并营造强烈戏剧张力的能力。他不仅仅是在描绘场景，他更是在编排戏剧，利用色彩与律动引导观众穿梭于深沉的苦难与神圣干预的故事之中。他在这些湿壁画中展现出的技巧，体现了对错觉空间（illusionistic space）的早期掌控力，拓宽了哥特式风格所能达到的艺术边界。
除了宏伟的湿壁画，巴托洛·迪·弗雷迪在细腻的祭坛画媒介中同样表现卓越。他的圣母报喜（1383年）是其将神圣感与精致工艺完美融合的典范。在这件作品中，光影的使用不仅是技术上的成就，更是一种神学工具，它照亮了圣母周围的细腻细节，营造出一种深邃的神圣氛围。他对木板绘画的处理方式，使得装饰水平——包括金箔、复杂的图案和精细的线条——既满足了那个时代对华丽感的渴望，又保持了深层的精神专注。
巴托洛·迪·弗雷迪的历史重要性在于他作为风格转折点的角色。虽然他始终忠于定义锡耶纳艺术的装饰传统，但他对时代不断演进的技法怀有天生的好奇心。他站在历史的十字路口，在保留晚期哥特式时期细腻、梦幻特质的同时，也为更具结构感、以人为本的文艺复兴风格铺平了道路。他综合这些对立力量的能力，创造出一种既怀旧又具有前瞻性的独特视觉语言。
时至今日，他的贡献被视为托斯卡纳艺术身份中不可或缺的组成部分。巴托洛·迪·弗雷迪的影响力可以概括为以下几个关键支柱：
尽管艺术史的浪潮最终转向了后期大师们那种强烈的写实主义，但巴托洛·迪·弗雷迪所创造的那个光辉灿烂、如梦似幻的世界，依然是西方艺术史中至关重要的一章，提醒着我们：绘画曾是通往神性的窗口。
