Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 32 værker af Bartolo Di Fredi i vores katalog
Oversigt
Det mest kendte maleri af Bartolo Di Fredi er The Annunciation to Joachim (1383), som er en del af samlingen på Vatikanets Pinacoteca, Vatikanstaten. De næste indlæg er The Holy Trinity (Trinity Altarpiece) (1350) og Saint Dominic (Trinity altarpiece) (1350). Katalogen dokumenterer 32 værker af Bartolo Di Fredi; de 32 nedenstående poster er de mest kendte, opført i rangorden med dato, museum og beskrivelse.
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 · Metropolitan Museum of Art
12
The Coronation of the Virgin1388 · Museo Civico e Diocesano d'Arte Sacra
13
Virgin Annunciate1370 · Yale University Art Gallery
14
Untitled (D2XAHZ)1390 · Metropolitan Museum of Art
15
Annunciation1383 · Szépművészeti Múzeum
16
The Adoration of the Magi1385 · Pinacoteca Nazionale
17
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?)Museum of Fine Arts
20
The Adoration Of The Magi
21
Pinacoteca vaticana
22
Nativity and Adoration of the Shepherds1383 · Vatikanets Pinacoteca
23
Altarpiece of the Trinity
24
The Coronation Of The Virgin (detail)
25
Annunciation to the Shepherds
26
Triptych of the Cappella delle Carceri in San Francesco to Montalcino
27
Nativity And Adoration Of The Shepherds
28
Saint augustine.
29
The devil gets groped by God of Job, fresco by Bartolo di Fredi (Duomo di San Gimignano)
30
Abraham is divided by Lot in the land of Canaan, fresco by Bartolo di Fredi (Duomo di San Gimignano)
31
Killing of the servants of Job, Fresco by Bartolo di Fredi, the cathedral of San Gimignano
32
The Presentation in the TempleLouvre
De fire motiver, der er hyppigst repræsenteret i disse værker, hver med sit mest kendte eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Bartolo Di Fredi | Malerier fra denne liste |
|---|---|---|---|
 Vatikanets Pinacoteca |
Vatikanstaten | 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 |
 Metropolitan Museum of Art |
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 |
Vælg et årti for at vise dets vigtigste maleri.
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), Vatikanets Pinacoteca, Vatikanstaten. De følgende værker er The Holy Trinity (Trinity Altarpiece) (1350) og Saint Dominic (Trinity altarpiece) (1350).
53 år: Bartolo Di Fredi blev født i 1330, og The Annunciation to Joachim er dateret 1383.
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 og Scenes from the Life of Sacred Hermits. Listen ovenfor viser datoen og det museum, der ejer hvert værk.
Kataloget indeholder 32 værker af Bartolo Di Fredi, dateret mellem 1350 og 1400.
Primært i Vatikanets Pinacoteca (Vatikanstaten), Musée des beaux-arts de Chambéry (Chambery) og Gemäldegalerie (Berlin). Tabellen over museer ovenfor viser den fulde fordeling.
I 1380s: 11 af de 32 værker, der er listet på denne side, er dateret til den periode, herunder The Annunciation to Joachim.
Det tidligste værk på listen er fra The Holy Trinity (Trinity Altarpiece) (1350); det nyeste er fra Saint Mary Magdalen (1400).
Gold background (9), Woman (6) og Religious scene (5) ud af de 32 værker, der er listet på denne side.
Tempera On Panel, i 14 af de 32 værker, der er listet på denne side.
Gothic-renaissance synthesis, som dokumenteret af værkerne på denne side.
The Annunciation to Joachim og Nativity and Adoration of the Shepherds er blandt de 2 værker på denne side i Vatikanets Pinacoteca, Vatikanstatens samling.
Ja. Hvert værk på denne side kan bestilles fra sin egen underside som en håndmalet oliereproduktion eller som et kunsttryk i den størrelse, du ønsker.
I hjertet af det fjortende århundredes Toscana, en periode defineret ved overgangen fra den gotiske æras eteriske ynde til renæssancens spirende humanisme, trådte Bartolo di Fredi frem som en mester af lys og fortælling. Han blev født i Siena omkring 1330 og var mere end blot en maler; han var en bro mellem to verdener. Hans værk, der ofte er karakteriserende ved en overjordisk lyskraft og en nitidig hengivenhed til detaljen, indfangede sin tids åndelige glød, samtidig med at han introducerede en dekorativ kompleksitet, som ville efterlade et uudsletteligt mærke på den sienesiske skole. At betragte et mesterværk af Fredi er at træde ind i et rige, hvor det hellige og det ornamentale danser i en perfekt, forgyldt harmoni.
Grundlaget for hans karriere var dybt forankret i de prestigefyldte lav i Siena. Omkring 1355 trådte han officielt ind i Arte dei Maestri di Tavola e Dipinto, en milepæl, der gav ham adgang til de mest betydningsfulde mæcenatnetværk i Italien. Denne professionelle stabilitet gjorde det muligt for ham at samarbejde med andre tidens lysende skikkelser, såsom Andrea Varga, om monumentale projekter som udsmykningen af domkirken i Siena. Disse tidlige år var formative, da han opsugede den aristokratiske elegance fra Simone Martini og de grundlæggende traditioner fra Duccio, hvilket forfinede en stil, der forkastede den strenge realismes kulde til fordel for en mere følelsesladet, symbolsk skønhed.
Måske findes det mest åndeløse vidnesbyrd om Fredis geni inden for murene i katedralen i San Gimignano. Mellem 1356 og 1367 påbegyndte han en ambitiøs freskocyklus, der forvandlede det venstre sideskib til et levende bibelsk gobelin. I disse værker, såsom den intense Drabet på Jobs tjenere, kan man vidne om hans evne til at mestre storskala-kompositioner med en intens dramatisk spænding. Han skildrede ikke blot scener; han orkestrerede dem ved at bruge farve og bevægelse til at guide beskueren gennem fortællinger om dyb lidelse og guddommelig indgriben. Hans teknik i disse freskoer fremviste en tidlig beherskelse af illusionistisk rum, hvilket skubbede grænserne for, hvad den gotiske stil kunne opnå.
Udover de monumentale freskoer excellerede Fredi i det intime medie, altertavler. Hans Bebudelse (1383) tjener som et klassisk eksempel på hans evne til at forene det hellige med det udsøgte. I dette værk er brugen af lys ikke blot en teknisk bedrift, men et teologisk redskab, der oplyser de delikate detaljer i Jomfruens omgivelser og skaber en atmosfære af dyb hellighed. Hans tilgang til panelmaleri muliggjorde et niveau af ornamentering—bladguld, indviklede mønstre og fine linjer—der tilfredsstillede tidens tørst efter pragt, samtidig med at det bevarede et dybt, åndeligt fokus.
Den historiske betydning af Bartolo di Fredi ligger i hans rolle som et stilistisk vendepunkt. Selvom han forblev tro mod de dekorative traditioner, der definerede sienesisk kunst, besad han en medfødt nysgerrighed over for sin tids udviklende teknikker. Han stod ved historiens korsvej, hvor han bevarede de delikate, drømmeagtige kvaliteter fra den sene gotik, mens han forberedte jorden for renæssancens mere strukturerede og menneskecentrerede tilgang. Hans evne til at syntetisere disse modstridende kræfter skabte et unikt visuelt sprog, der var både nostalgisk og fremadskuende.
I dag anerkendes hans bidrag som essentielle komponenter i den toscanske kunstneriske identitet. Arven efter Bartolo di Fredi kan opsummeres gennem flere nøglepunkter i hans indflydelse:
Selvom kunsthistoriens strømninger med tiden bevægede sig mod de senere mestre med deres intense realisme, forbliver den lysende, fortryllede verden skabt af Bartolo di Fredi et vitalt kapitel i den vestlige kunsts historie, som minder os om en tid, hvor maleriet var et vindue ind til det guddommelige.
