Saint Gregory the Great (in pinnacle: a Prophet) (1334) on teos, millega Bernardo Daddi on kõige tuntum; see kuulub museumi Harvard Art Museums, Cambridge. Saint Reparata Being Prepared for Execution (1300) ja Saint Reparata before the Emperor Decius (1338) täiendavad kõige armastatumate tablodeid moodustavat triooti. Meie kataloogis on 89 teost kunstnikult Bernardo Daddi. Siin on 89 kõige kuulsamat koos aasta, muuseumi ja iga linate veebilehe loo kohta.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud oktoober 2026. Iga selle lehekülje maali saab tellida kas linatele kangale käsitsi maalatuna nagu õlimaalide reproduktsiooni või valitud suuruses fine art trükkina.
A single figure occupies the center of this vertical wooden panel, suspended against a flat, luminous gold ground. Saint Gregory the Great faces the viewer with a solemn, steady gaze. He is an elderly man, his face etched with the gravity of his station. He wears a white mitre, its surface adorned with a jeweled crown-like band that catches the light. Over his shoulders, a heavy red cope falls in…
The painted panel titled Saint Reparata Being Prepared for Execution is a work by the Florentine artist Bernardo Daddi. This piece dates to approximately 1338–1340. It is a tempera on panel composition that originated as part of a larger series from a high altarpiece. Specifically, the panel functioned as part of a predella, which is a two-tiered base, illustrating eight distinct scenes from the life of the saint.
Saint Reparata before the Emperor Decius is a work by the Florentine painter Bernardo Daddi, executed about 1338. The composition portrays the saint in a confrontation with Emperor Decius. As a patron saint of Florence, Reparata’s life was a central subject of local devotion.
A vertical silhouette emerges from a field of textured gold. St. Catherine of Alexandria is caught in a moment of quietude, her head tilted slightly toward the left. She wears a crown of gold, heavy with dark jewels, resting upon hair that meets the sharp point of a Gothic arch. Her tunic is the color of deep teal, draped in folds that catch the light, while an orange mantle wraps…
To stand before this panel is to encounter the structured devotion of mid-14th century Florence. The composition is governed by a strict verticality, drawing the eye upward toward Christ, who is seated in an upper lobed section. He holds a red book and offers a gesture of blessing, his presence anchored by the formal symmetry of the throne. Below this central figure, the arrangement shifts into a circular medallion, flanked…
We are looking at Arrival of Saint Ursula at Cologne, a work by the Florentine painter Bernardo Daddi. Created about 1333, this piece originates from a period when Daddi was a central figure in the artistic life of Florence. He was an Italian artist who lived from about 1280 to 1348, working through the transition of styles in the early fourteenth century.
To gaze upon this depiction of Saint Dominic receiving divine guidance is to witness art at its most profound—a captured breath from the intersection of earthly devotion and celestial revelation. The scene, rendered with exquisite care, transports the viewer into an intimate architectural space, suggesting a moment so sacred that time itself seems to pause. It is not merely a portrait of a saint; it is an embodiment of spiritual…
In the heart of fourteenth-century Florence, a period defined by the delicate transition from the stylized elegance of the Gothic era to the burgeoning humanism of the Renaissance, Bernardo Daddi emerged as a master of light and devotion. His masterpiece, The Assumption of the Virgin, serves as a breathtaking window into a world where the earthly and the divine intersect. This tempera panel on wood, executed with a meticulous hand…
![Fixed Triptych: in the center, The Virgin and Child surrounded by twenty angels and four saints (John the Baptist and Peter on one side, Paul and Lawrence [?] on the other); on the left, The Nativity; on the right, The (1338) autor Bernardo Daddi](/media/artworks/images-full/37/58/375831847b7950d4d8b4b167786d6c9f.jpg)
This Fixed Triptych: in the center, The Virgin and Child surrounded by twenty angels and four saints (John the Baptist and Peter on one side, Paul and Lawrence [?] on the other); on the left, The Nativity; on the right, The is a work by Bernardo Daddi. The artist, born in Florence, Italy, in 1290, crafted this composition in 1338. His hand guided the brush through the transition of eras…
The air within this architectural space feels heavy with the scent of fruit and the quiet murmur of a communal meal. Sunlight does not strike the scene from a single source; instead, a soft, diffused glow bathes the figures, casting no harsh shadows and creating a sense of eternal, suspended time. We find ourselves looking into a shallow, stage-like room where the boundaries of space are defined by elegant vertical…
The artwork titled Virgin and Child with Saints John the Baptist and Giles, Two Prophets, and Christ the Redeemer is a religious triptych created by the Italian painter…
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The Nativity and the Annunciation to the Shepherds is a painting by the Italian artist Bernardo Daddi. Created in Florence, this work dates to about 1336. The piece…
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The scene unfolds through a monumental figure known as Saint Paul and a Group of Worshippers, a work painted by Bernardo Daddi. In this hagiographic composition, the saint…
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A single, glowing iron presses against skin. In this 1337 tempera on wood, the air feels heavy with the scent of smoke and the heat of the coals.…
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The Virgin and Child Enthroned with Saints (triptych, closed) is a religious work executed in 1338. The artist, Bernardo Daddi, was a Florentine painter born in Florence, Italy,…
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The panel known as Magus Adoring the Infant Christ and Bishop (triptych, right wing) (verso) emerged from the workshop of Bernardo Daddi in 1338. This specific piece, a…
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The celestial melody of Four Musical Angels unfolds before us, a work that captures a moment of divine harmony. Painted about 1340, this piece brings the viewer into…
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The figure of Saint Peter emerges from a luminous, gilded void, his presence commanding the vertical space of the panel. He stands with a solemnity that feels heavy,…
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This vertical, narrow panel from a Gothic triptych, specifically the left wing (verso), features a composition divided into two distinct registers by a horizontal architectural band. In the…
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A quiet stillness settles over the five holy figures standing in a tight, rhythmic line. They occupy a shallow space, pressed together as if sharing a profound, silent…
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The triptych known as Birth of Christ emerges from the workshop of the Italian artist Bernardo Daddi, dating to 1338. This portable devotional object invites the viewer into…
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Triptych: the Nativity, the Coronation of the Virgin, and the Crucifixion is a religious work by Bernardo Daddi. Created about 1339, this multi-panel composition reflects the stylistic transition…
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The Virgin Mary leans inward, her profile a soft curve against the stillness of the panel. She cradles the Christ Child, whose small hand is raised in a…
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The Virgin Mary bows her head toward the Christ Child, a movement that pulls the viewer into their shared, quiet space. Her mantle is a deep ultramarine blue,…
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A single bird rests within the grasp of a holy bishop. The goldfinch, small and fragile, sits against the heavy weight of liturgical vestments. A background of shimmering…
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The Crucifixion (polyptych, panel 3 of 5) is a religious work by the Florentine painter Bernardo Daddi. Created about 1348, this panel depicts the Crucifixion of Jesus Christ.…
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Saints Peter and Paul (polyptych, panel 4 of 5) is a work by the Florentine painter Bernardo Daddi. Created in 1348, this panel functions as one component of…
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Saints Bartholomew and George (polyptych, panel 2 of 5) is a tempera on wood panel painted by Bernardo Daddi. This specific panel was part of a larger, multi-part…
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Virgin and Child is a religious painting by the Florentine artist Bernardo Daddi. Executed about 1346, this work belongs to the tradition of Gothic devotional imagery. The subject…
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The central panel holds a vertical axis of suffering. Christ hangs upon the cross, a pale figure suspended against a background of pure gold leaf. At his feet,…
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The Crucifixion by Bernardo Daddi is a religious work dating to 1345. The composition focuses on the Crucifixion of Jesus Christ, a central subject in Christian iconography. This…
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Behold this breathtaking vision, a triptych that transports the viewer directly into the sacred atmosphere of 14th-century Florence. Depicting the Virgin Mary flanked by two towering figures of…
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Created in 1339, this gilded polyptych represents a critical moment in the Florentine Gothic tradition. Bernardo Daddi, a central figure in the city's artistic circle, utilized tempera and…
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In the quiet sanctity of the fourteenth century, amidst the burgeoning artistic fervor of Florence, Bernardo Daddi breathed life into a vision of celestial harmony that continues to…
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To gaze upon this portable, double-sided cross is to encounter not merely an object of devotion, but a profound narrative tapestry woven from faith, suffering, and enduring hope.…
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In the heart of fourteenth-century Florence, a period defined by the delicate transition from Gothic grace to Renaissance realism, Bernardo Daddi crafted a masterpiece that continues to captivate…
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The painting titled Virgin and Child with Saint Peter and Saint Paul is a work attributed to the workshop of Bernardo Daddi. This tempera on panel composition dates…
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To gaze upon this depiction of the Coronation of the Virgin is to be transported across the veil of time, into a moment suspended between earthly devotion and…
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The air seems to shimmer with a divine light as the scene unfolds upon the panel. In this sacred moment, Mary, the mother of Jesus, receives her crown.…
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To gaze upon this detail from Bernardo Daddi’s work is to step directly across the threshold of the fourteenth century, into a moment steeped in profound spiritual narrative…
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To stand before this depiction of the Crucifixion is to enter a space saturated with profound, almost unbearable emotion. Painted in 1345 by the masterful hand of Bernardo…
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Gaze upon this exquisite rendering of The Nativity, a scene that has captivated the human spirit for centuries. Bernardo Daddi captures not merely an event, but a profound…
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To stand before this magnificent triptych is to step directly into the luminous heart of early Quattrocento Florence. Dating from 1335, this work by Bernardo Daddi captures a…
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Virgin and Child is a work by the Florentine painter Bernardo Daddi, dating to about 1340. The panel presents the Virgin Mary holding the Christ Child in her…
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In this tempera on panel work from 1328, three primary religious figures occupy the central space. A woman holds a baby in her arms, positioned as the focal…
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In the quiet stillness of 1335, a moment of profound theological significance was captured on wood by the Florentine master Bernardo Daddi. The Annunciation is not merely a…
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In the quiet sanctity of the fourteenth century, amidst the burgeoning artistic fervor of Florence, Bernardo Daddi breathed life into a vision of celestial harmony. His Madonna and…
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Created around 1346, this work captures a moment of profound stylistic evolution in Florence. The composition centers on the Virgin Mary holding the Christ Child, surrounded by a…
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In the quiet, hallowed atmosphere of fourteenth-century Florence, Bernardo Daddi captured a moment of profound divine intimacy that continues to resonate through the centuries. His masterpiece, Virgin and…
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In the quiet, hallowed atmosphere of fourteenth-century Florence, Bernardo Daddi captured a moment of profound divine intimacy that continues to resonate through the centuries. His masterpiece, Virgin and…
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In the quiet contemplation of fourteenth-century Florence, few objects commanded as much spiritual gravity as the Portable, Double Sided Cross (verso) by the master Bernardo Daddi. This exquisite…
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In the heart of fourteenth-century Florence, a period defined by the delicate transition from the stylized elegance of the Gothic era to the burgeoning humanism of the Renaissance,…
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A woman cradling a baby boy sits on an arched throne, which is surrounded by twenty men, women, and winged angels against a glimmering gold background in this…
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The Crucifixion by Bernardo Daddi is a captivating painting that showcases the artist's skill and artistic vision. Created in 1340, this masterpiece measures 74 x 33 cm and…
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To stand before Bernardo Daddi’s Polyptych of San Pancrazio: Predella panel is to step directly across the threshold of the Italian Trecento, a time when profound faith and…
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To stand before the Polyptych of San Pancrazio: Predella panel is to step directly across the threshold of the Italian Trecento, a time when faith and burgeoning humanism…
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To stand before Bernardo Daddi’s Polyptych of San Pancrazio: Predella panel is to step directly across the threshold of the Italian Trecento, a transformative era where profound faith…
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Bernardo Daddi, born in Florence around 1290 and passing away in 1348, stands as a pivotal figure in the transition from the late Gothic to the burgeoning Italian…
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To gaze upon this magnificent depiction of the Madonna and Child Enthroned with Angels and Saints is to step directly into the sacred, luminous atmosphere of early Quattrocento…
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#1 Saint Gregory the Great (in pinnacle: a Prophet)
#3 Saint Reparata before the Emperor Decius
#4 A Crowned Virgin Martyr (St. Catherine of Alexandria)
#5 Christ Enthroned with Saints
![Fixed Triptych: in the center, The Virgin and Child surrounded by twenty angels and four saints (John the Baptist and Peter on one side, Paul and Lawrence [?] on the other); on the left, The Nativity; on the right, The (1338), Bernardo Daddi](/media/artworks/images-thumb/f5/2d/f52d86206b7bcf980b56ec8430260132.jpg)
#9 Fixed Triptych: in the center, The Virgin and Child surrounded by twenty angels and four saints (John the Baptist and Peter on one side, Paul and Lawrence [?] on the other); on the left, The Nativity; on the right, The
Neli teemat, mis esinevad neil lätistes kõige sagedamini, koos nende kõige armastatumate näidetega.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Bernardo Daddi teosid | Selle nimekirja maalid |
|---|---|---|---|
 Courtauld Gallery |
London | 9 | The Virgin and Child Enthroned with Saints (triptych, closed), Magus Adoring the Infant Christ and Bishop (triptych, right wing) (verso), Saint Peter |
 Metropolitan Museum of Art |
New York | 7 | Saint Reparata Being Prepared for Execution, Saint Reparata before the Emperor Decius, Christ Enthroned with Saints |
 Lindenau-Museum |
Altengau | 5 | Coronation of the Virgin, Crucifixion, Triptych |
 Galleria degli Uffizi |
Firenze | 5 | Madonna and Child with Sts Matthew and Nicholas, Polyptych of San Pancrazio: Predella panel, Polyptych of San Pancrazio: Predella panel |
 Harvard Art Museums |
Cambridge | 3 | Saint Gregory the Great (in pinnacle: a Prophet), The Virgin and Child, with Christ Blessing, Christ on the Cross between the Virgin and Saints Mary Magdalene and John the Evangelist; left panel: The Agony in the Garden and Saints Peter and Paul; right panel: Saints Catherine of Alexandria and |
 National Gallery of Art |
Washington | 3 | Saint Paul and a Group of Worshippers, The Crucifixion, Madonna and Child with Saints and Angels |
 J. Paul Getty muuseum |
Los Angeles | 2 | Arrival of Saint Ursula at Cologne, The Virgin Mary with Saints Thomas Aquinas and Paul |
 Berliini Riigimuseumid |
Berliin | 2 | The Temptation of St Thomas Aquinas, Triptych |
The painted panel titled Saint Reparata Being Prepared for Execution is a work by the Florentine artist Bernardo Daddi. This piece dates to approximately 1338–1340. It is a…
The Crucifixion by Bernardo Daddi is a religious work dating to 1345. The composition focuses on the Crucifixion of Jesus Christ, a central subject in Christian iconography. This…
A single figure occupies the center of this vertical wooden panel, suspended against a flat, luminous gold ground. Saint Gregory the Great faces the viewer with a solemn,…
A vertical silhouette emerges from a field of textured gold. St. Catherine of Alexandria is caught in a moment of quietude, her head tilted slightly toward the left.…
Saint Gregory the Great (in pinnacle: a Prophet) (1334), Harvard Art Museums, Cambridge. Järgnevad Saint Reparata Being Prepared for Execution (1300) ja Saint Reparata before the Emperor Decius (1338).
1290 aastal sündinud Bernardo Daddi oli 44 aastat vanus: Saint Gregory the Great (in pinnacle: a Prophet) on pärinev aastast 1334.
Saint Gregory the Great (in pinnacle: a Prophet), Saint Reparata Being Prepared for Execution, Saint Reparata before the Emperor Decius, A Crowned Virgin Martyr (St. Catherine of Alexandria), Christ Enthroned with Saints, Arrival of Saint Ursula at Cologne, The Temptation of St Thomas Aquinas, The Assumption of the Virgin, Fixed Triptych: in the center, The Virgin and Child surrounded by twenty angels and four saints (John the Baptist and Peter on one side, Paul and Lawrence [?] on the other); on the left, The Nativity; on the right, The ja The Wedding Feast of St Cecilia. Iga teos ülal toodud reitingus on märgitud koos aasta ja muuseumiga.
Kataloogis on 89 teost kunstnikult Bernardo Daddi, kuupäevadelt 1300 kuni 1348.
Peamiselt Courtauld Gallery (London), Metropolitan Museum of Art (New York) ja Lindenau-Museum (Altengau) asukohas; ülaltoetud nimekiri esitab kirja iga muuseumi ja selle tablood.
1330s perioodil, mis sisaldas 33 kogu selle lehe 89 teosest, oli nende hulgas Saint Gregory the Great (in pinnacle: a Prophet).
Siin olevad kõige vanamad lamedad pildid on Saint Reparata Being Prepared for Execution (1300); kõige uuemad on The Crucifixion (polyptych, panel 3 of 5) (1348).
Saints (27), Angels (23) ja Gold background (22), kogu selle lehekülje 89 teose kohta.
Tempera On Panel, mida on kasutatud 44 kuni 89 teoseks sellel lehel.
Gothic, nagu sellel lehel olevad tablood näitavad.
Courtauld Gallery, London säilitab 9 sellel lehel olevat teost, seda hulka kuuluvad ka The Virgin and Child Enthroned with Saints (triptych, closed), Magus Adoring the Infant Christ and Bishop (triptych, right wing) (verso) ja Saint Peter.
Jah. Iga maali sellel lehel saab tellida oma lehelt kas käsitsi maalatuna õli-reproductionina või suurepärase kunstiprentina valitud suuruses.
Bernardo Daddi, kes sündis Florentsis umbes 1290. aastal ja suri 1348. aastal, on võtmetähtsusega tegelane hilispika gootika ja alguse sainud itaalse renessanssi ülem переходusajal. Ta ei olnud revolutsiooniline ikonoklast, kes purustas üle nottu kehtivad konventsioonid, vaid pigem meistrlik käsitööline kunstnik, kes muutas oma ajastu kunstimaastiku peenelt, kuid sügavalt, eriti elavs FLorentsi linnas. Sageli kirjeldatakse teda oma põlvkonna "juhtkava maalarina" ja Daddi pärand ei peitu radikaalses kõrvalekalduses, vaid mõõdetud evolutsioonis — olemasolevate tehnikate hoolikas tärakujundamine ja realismi pühendumine, mis märkis kriitilist sammu renessanssi humanistiliste teilide poole.
Daddi täpne sünniaeg on endiselt teatud määral hämar, kuigi dokumendid viitavad, et teda mainiti esimest korda 1312. aastal. On laialt usutud, et tema kunstiline teekond algas ühe ajastu mõjuaimast kunstnikust Giotto di Bondonest. Giotto rõhuasetus naturalismile ja emotsionaalsele avaldusele kujundas ilmselt vältimatu viisil Daddi varajast stiili. Tema esiletõstuvad teosed näitavad selget seost Giotto jäljendajatega — meistritega nagu "Santa Cecilia meistri" ja teiste 14. sajandi esimese neljaaja Florentsi maalari tegija — peegeldades otsest kunstilist pärimust. Need varajased teosed näitavad stiililist truudust, kasutades gootika traditsioonile omaseid tehnikaid, samal ajal vihjates kasvavale realismile, mis määraks tema hilisema karjääri. Selle perioodi iseloomulik hoolikas detailikäsitlus ja eraldavad värvid viitavad tugevale alustusele establishedud praktikates, kuid koosilmastuvate tundlikkusega inimfiguuri ja emotsioonide kujundamisel.
Daddi kunstiline stiil esindab olulist kõrvalekaldet gootika kunstis valitsevast stiliseeritud ja sageli sümboolikast täidetud pildikeelest. Ta püeles saavutada reaalsuse täpsemat ja usaldusväärsemat esitamist — mis on renessanssi üks põhiline vundament. See muutus on eriti nähtav tema väiksem Maßusega teostes, kus ta suutis suurepäraselt detailidega kujundada tekstuure, kangast ja näha silma pilgu kätte jäävaid nägid.
Kriitiliselt oluline on Daddi roll kannastatavate altaripildide formaadi populariseerimisel. Need mitme paneeliga kompositsioonid, mis olid mõeldud kirikutes ja laipades näitamiseks, võimaldasid suuremat narratiivset keerukust ja visuaalset rikkust kui traditsioonilised seinamaalid. Daddi hilisem stiil, mis sai mõjutuseks Maso di Banco, demonstreerib suurendatud tärakujundamist — peenud elegantsi, mis varjab teatud akadeemilist täpsust. See lyrilise ilu ja tehnilise oskuse kooslus on see, mis eristab tema tööd ja kinnitas tema positsiooni kui juhtkava florentsinel maalari.
Bernardo Daddi kunstiline looming on jätnud tematu jälje maailma prestiižsete muuseumide kogenditele. Florentsi Uffizi Galerias asub oluline 1328. aastast pärit triptüük, mis pakub lummavat vaadet tema kompositsioonioskustele ja jutustamisoskusele. Samuti märkimisväärne on Vatikaani Pinacoteca poes asuv "Püha Stefano martyrdom" — predella, mis koosneb kaheksast paneelistest, mida maalistati umbes 1av 1345. Lisaks neile ikoonilistele teostele on Daddi mõju nähtav arvukates teostes institutsioonides nagu National Gallery of Art ja Walters Art Museum. Näiteks tema "Protsessioonikrusifiks" demonstreerib tema võimet tabada liikumust ja detaile suhteliselt väikeses formaadis. Courtauld Institute of Art hoidab mitut paneeli teosest "Neja Kroonimine", näidates tema meistriklassi religioossete figuuride ja nende ümbritsevate asjade kujundamisel.
Daddi kunstiline areng ei olnud juurdunud pelgalt Giotto õpetustes; teda mõjutasid ka Lorenzetti siena stiil, mille rõhuasetus kodanikule väärtustele ja naturalismile resonantsis Daddi enda esteetiliste meelduvustega. Tema viimane tuntud teos kuulub 1347. aastale ning kahju enough lahkus ta shortly pärast seda. Hoolimata teatud "akadeemilisest ja mehaanilisest karmusest", mida mõned kriitikud märkinud on — omadus, mis võib tulineda tema töökoda produktiivsest väljundist — tagas Daddi lyriline elegants ja tehniline oskus tema püsiva pärandi. Ta sildas tühimust gootika minevikku ja alguse sainud renessanssi vahel, kujundades Florentsi visuaalset keelt ja jättes järele teoseid, mis võlustavad vaatajatega ka täna. Tema panus kannastatavate altaripildide arendamisse ja pühendumus realistlikule kujundamisele pani aluse tulevasi Itaalia kunstnike põlvkondadele.
