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The Florentine Bernardo Daddi began his career as an apprentice of the painter Giotto, who is credited with introducing a more naturalistic style in Italian painting. This triptych is one of Daddi’s finest works. It is remarkable for its lively details, as well as its use of expensive pigments and thin sheets of pure gold.
3 de may. de 2023 · Bernardo Daddi. A late contemporary of the famous painter Giotto di Bondone, Bernardo Daddi (ca. 1280 – 1348) became one of Florence’s most popular and most important producers of panel pictures during the two decades that preceded the advent of Bubonic Plague. The identity of his master remains unclear, and speculations range from Giotto ...
Bernardo Daddi (h. 1290 – 1348) fue también un fiel alumno de Giotto durante más de veinte años. Director de un taller floreciente, adquirió una cultura giottesca incrementando el componente lírico, inspirándose igualmente de la lección sienesa en el desarrollo lineal y en la preciosidad cromática.
17 de jun. de 2023 · Bernardo Daddi (c .1300-c. 1348) - The Marriage of the Virgin - RCIN 406768 - Royal Collection.jpg 1,500 × 1,232; 775 KB. Bernardo Daddi - Christ on the Cross between the Virgin and Saints Mary Magdalene and John the Evangelist, left panel - 1918.33 - Fogg Museum.jpg 2,349 × 2,400; 1.47 MB.
The collection of Early Italian paintings in the Museo Thyssen-Bornemisza has two works by Bernardo Daddi: the present Virgin and Child and a Crucifixion. From their dimensions it can be deduced that both would have been painted for the purposes of private devotion. Following Giotto’s death, Daddi became the leading Florentine painter and ran ...
Bernardo Daddi. San Lorenzo, Milano, Pinacoteca di Brera. Trittico di Ognissanti, Uffizi, Firenze. Bernardo Daddi ( Borgo San Lorenzo, 1290 circa – Firenze, 1348) è stato un pittore italiano, documentato dal 1320 al 1348 a Firenze.
to shortly before his death from the plague. Daddi was the leading painter of his day and the inscription boldly asserts his authorship. The Crucifixion was considered a particularly appropriate theme for an altarpiece. During the celebration of Mass, it served as a visual expression of Christ’s sacrifice for the redemption of humanity.
