Barnaba Da Modena, 1328 – 1386
Barnaba Da Modena: The 9 Best-Known Paintings
Of all Barnaba Da Modena's paintings, The Virgin and Child between Saint John the Baptist and Saint Michael (1350) is the most famous; it hangs in the Musée du Petit Palais, Avignon. Close behind come Madonna and Child (1367) and Pentecost (1371). Among the 9 works by Barnaba Da Modena in our catalogue, these 9 are the most celebrated, each shown with its date, its museum and its story.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated oktoober 2026. Each painting on this page can be ordered as an oil reproduction painted by hand on linen canvas, or as a fine art print, made to the size you choose.
- Born · died
- 1328 – 1386, Modena
- Works in our catalogue
- 9
- Most famous
- The Virgin and Child between Saint John the Baptist and Saint Michael (1350)
- Most works at
- National Gallery
Barnaba Da Modena's 10 most celebrated paintings
5
Virgin and Child
To gaze upon this depiction of the Virgin and Child is to step directly into the devotional heart of fourteenth-century Italy. The scene unfolds with an almost palpable intimacy; the Virgin Mary, adorned in rich blue robes and crowned with regal grace, cradles her infant son close to her breast. It is a moment suspended in time—a tender communion that speaks volumes of maternal love intertwined with divine mystery. Barnaba…
7
Virgin and Child
In the quiet intimacy of Barnaba da Modena’s Virgin and Child, we are invited into a sacred moment that transcends the centuries. Created around 1360, this masterpiece serves as a profound window into the spiritual heart of the Trecento period. The painting captures a deeply human connection between the Virgin Mary and her infant son, presenting a scene where divine majesty meets maternal tenderness. As she cradles the young boy,…
9
Crucifixion
In the quiet sanctity of the Museum of Art in Indianapolis, there exists a window into the fourteenth century that transcends the mere passage of time. The Crucifixion by Barnaba da Modena, executed around 1375, is not merely a painting but a profound spiritual encounter. As one gazes upon this tempera on wooden panel, the viewer is immediately enveloped by the solemnity of the late medieval period. The composition centers…
What Barnaba Da Modena painted most
The four subjects that return most often on these canvases, each with its best-loved example.
Byzantine style 3 works
Virgin mary 2 works
Madonna and child 2 works
Religious art 2 works
Where Barnaba Da Modena's canvases hang
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Barnaba Da Modena | Paintings from this list |
|---|---|---|---|
 National Gallery |
London | 2 | Pentecost, Scenes of the Virgin; The Trinity; The Crucifixion |
 Musée du Petit Palais |
Avignon | 1 | The Virgin and Child between Saint John the Baptist and Saint Michael |
 Städel Museum |
Frankfurt | 1 | Madonna and Child |
 Gemäldegalerie |
Berliin | 1 | Madona and Child |
 Louvre'i muuseum |
Pariis | 1 | Virgin and Child |
 Yale University Art Gallery |
New Haven | 1 | Mourning Virgin |
 Museum of Fine Arts |
Boston | 1 | Virgin and Child |
 Indianapolis Museum of Art |
Indianapolis | 1 | Crucifixion |
Decade by decade: Barnaba Da Modena's most celebrated canvas
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1350s
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1360s
Ranked 2 of 9Madonna and Child
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1370s
3 of 9Pentecost
Your questions on Barnaba Da Modena's paintings, answered
Which is the most celebrated painting by Barnaba Da Modena?Read the answer
The Virgin and Child between Saint John the Baptist and Saint Michael (1350), Musée du Petit Palais, Avignon. Madonna and Child (1367) and Pentecost (1371) follow.
How old was Barnaba Da Modena at the time of The Virgin and Child between Saint John the Baptist and Saint Michael?Read the answer
Barnaba Da Modena, born in 1328, was 22 years old: The Virgin and Child between Saint John the Baptist and Saint Michael dates from 1350.
How many paintings by Barnaba Da Modena are known?Read the answer
9 works by Barnaba Da Modena are in our catalogue, dated 1350 to 1375.
Which museums hold Barnaba Da Modena's best-known canvases?Read the answer
Mostly in National Gallery (London), Musée du Petit Palais (Avignon) and Städel Museum (Frankfurt); the list above names each museum and its canvases.
In which years did Barnaba Da Modena paint the most celebrated canvases?Read the answer
In 1370s, which gave 4 of the 9 works on this page, Pentecost among them.
What are the first and the last of Barnaba Da Modena's famous canvases?Read the answer
The earliest canvas here is The Virgin and Child between Saint John the Baptist and Saint Michael (1350); the latest is Crucifixion (1375).
Which subjects return most often in Barnaba Da Modena's paintings?Read the answer
Byzantine style (3), Virgin mary (2) and Madonna and child (2), across the 9 works on this page.
What did Barnaba Da Modena usually paint with?Read the answer
Tempera On Panel, used in 2 of the 9 works on this page.
What can I see by Barnaba Da Modena at the National Gallery?Read the answer
The National Gallery, London holds 2 of the works on this page, among them Pentecost and Scenes of the Virgin; The Trinity; The Crucifixion.
Can I order a hand-painted copy of a painting by Barnaba Da Modena?Read the answer
Yes. Every painting on this page can be ordered from its own page as an oil reproduction painted by hand, or as a fine art print, in the size you choose.
Barnaba Da Modena: the painter's story
Barnaba da Modena (c. 1328 – c. 1386): A Byzantine Echo in Lombard Painting
Barnaba da Modena stands as a singular figure in the artistic landscape of fourteenth-century Italy—a pioneer who bravely championed a stylistic tradition largely abandoned by his contemporaries, firmly rooted in the grandeur and spirituality of Byzantium. Born around 1328 in Modena (Emilia), he emerged from obscurity to become arguably the first Lombard painter of considerable renown, leaving behind an impressive oeuvre that testifies to his unwavering devotion to this venerable artistic heritage. His activity spanned Lombardy, Piedmont, and Pisa in Tuscany, establishing him as a pivotal artist within the burgeoning cultural dynamism of the era.- Early Life & Training: Precise biographical details surrounding Barnaba’s formative years remain elusive. Records indicate he was active in Genoa from approximately 1364, where he secured patronage and honed his craft amidst a vibrant artistic milieu. This Genoese engagement undoubtedly exposed him to the prevailing stylistic currents of the time—a stark contrast to the increasingly naturalistic tendencies gaining traction elsewhere in Italy.
- Byzantine Influence: Barnaba’s distinctive style is undeniably indebted to Byzantine painting, particularly its use of gold leaf and shimmering backgrounds. He meticulously replicated techniques perfected centuries earlier, prioritizing luminous color palettes and compositional schemes that emphasized symbolic grandeur rather than realistic representation. This commitment to tradition speaks volumes about his artistic sensibilities and reflects a profound understanding of the visual language of religious art.
- Notable Works & Patronage: Barnaba’s prolific output encompassed around fifty paintings—a remarkable achievement considering the period—primarily focused on depictions of the Virgin Mary and Christ, often framed within elaborate architectural settings reminiscent of Byzantine churches. His commissions included prominent roles in Genoa’s Palazzo Ducale and contributed significantly to the artistic embellishment of ecclesiastical spaces throughout Lombardy.
- Technique & Innovation: Despite adhering to Byzantine conventions, Barnaba demonstrated considerable technical skill—a testament to his meticulous attention to detail and masterful manipulation of pigment. His paintings exhibit a remarkable level of refinement, achieved through painstaking layering of glazes and incorporating subtle gradations of color that imbue the images with an ethereal quality.
- Legacy & Influence: Barnaba’s artistic vision profoundly impacted subsequent generations of Lombard painters. Notably, Nicolò da Voltri continued his stylistic trajectory in Liguria until circa 1420, perpetuating Barnaba's Byzantine aesthetic and solidifying his position as a foundational figure in the development of Lombard painting. His enduring legacy resides not merely in his individual masterpieces but also in his contribution to shaping the artistic landscape of his time—a beacon of spiritual contemplation amidst the burgeoning complexities of the Renaissance.
Major Achievements & Artistic Style
Barnaba’s most celebrated achievements lie in his masterful execution of monumental frescoes adorning churches throughout Lombardy and Genoa. These works exemplify the pinnacle of Byzantine influence, characterized by:- Gold Leaf Backgrounds: Extensive use of gold leaf created radiant surfaces that evoked the splendor of imperial cathedrals—a deliberate stylistic choice reflecting Barnaba’s reverence for Byzantine iconography.
- Symbolic Composition: Paintings prioritized conveying theological concepts through carefully orchestrated visual narratives, emphasizing spiritual significance over mere aesthetic beauty.
- Luminous Color Palette: Barnaba skillfully employed vibrant hues—particularly blues and reds—to illuminate biblical scenes and imbue them with emotional intensity.
Connections & Artistic Context
Barnaba’s artistic milieu was shaped by the prevailing stylistic trends of his time, yet he steadfastly resisted the emerging naturalism championed by artists like Giotto di Bondone. He remained firmly committed to Byzantine principles—a conscious decision that distinguished him from many of his contemporaries and cemented his reputation as a champion of tradition. His work stands apart as an exceptional example of artistic integrity—a testament to his unwavering devotion to conveying spiritual truths through visual art.Further Exploration
For deeper insights into Barnaba da Modena’s life and oeuvre, consult the following resources:- tiraboschi, Giuseppe Maria.Storia della letteratura lombarda dal secolo IX al XVI. Milano: Boccaveri Editore, 1867.