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Мадонна с младенцем и святыми равноапостольными Матфеем и Николаем. 1328 Дерево, темпера. Галерея Уффици, Флоренция

Bernardo Daddi (c. 1280 – was an early Italian Renaissance painter and the leading painter of Florence of his generation. Madonna and Child with Sts Matthew and Nicholas 1328 Tempera on wood, 144 x 194 cm Galleria degli Uffizi, Florence

Spinello Aretino, Coronation of the Virgin

Coronation of the Virgin 1401 Tempera and gold on panel, 275 x 278 cm Galleria dell'Accademia, Florence.SPINELLO ARETINO Italian painter (b. ca. Arezzo, d.

GUARIENTO d'Arpo Coronation of the Virgin  1344 Tempera and gold leaf on panels, 218 x 265 cm Norton Simon Museum of Art, Pasadena  This polyptych was above the main altar in the church of San Martino in Piove di Sacco, outside of Padua.

GUARIENTO d'Arpo Coronation of the Virgin 1344 Tempera and gold leaf on panels, 218 x 265 cm Norton Simon Museum of Art, Pasadena This polyptych was above the main altar in the church of San Martino in Piove di Sacco, outside of Padua.

BARTOLO DI FREDI The Coronation of the Virgin 1388 Tempera on panel, 332 x 279 cm Museo Civico e Diocesano d'Arte Sacra, Montalcino The polyptych of the Coronation of the Virgin, signed and dated 1388 by Bartolo di Fredi, was executed for a chapel in the church of San Francesco in the town of Montalcino to the south of Siena. The painter appears to have had a number of other connections with Montalcino, both as an agent for the Sienese government (in 1375 and 1376)

Early Renaissance -- "Coronation of the Virgin" -- Circa 1388 -- Bartolommeo di Fredi -- Italian -- Tempera on panel on gold ground -- Siena, San Gimignana, Volterra.

The Madonna delle Grazie’ (1347) by Bernardo Daddi

Bernardo Daddi (c. 1280 – was an early Italian Renaissance painter and the leading painter of Florence of his generation. Bernardo Daddi, Orsanmichele Madonna and Child with Angels, Tempera and gold on panel, Orsanmichele, Florence

sea art and sun

CAVALLINI, Pietro Crucifixion c. 1308 Fresco San Domenico Maggiore, Naples The Roman school of the second half of the thirteenth century was also crucial to the development of Giotto's work and Italian painting in general.

Bernardo Daddi (c. 1280 – 1348) was an early Italian Renaissance painter and the leading painter of Florence of his generation.  Triptych c. 1333 Panel, 89 x 97 cm (central panel) Loggia del Bigallo, Florence

Bernardo Daddi (c. 1280 – was an early Italian Renaissance painter and the leading painter of Florence of his generation. Triptych c. 1333 Panel, 89 x 97 cm (central panel) Loggia del Bigallo, Florence

UGOLINO DI NERIO Three panels from the Santa Croce Altar  1325-30 Poplar Staatliche Museen, Berlin  The early Italian High Altar by Ugolino di Nerio for Santa Croce, the great Franciscan church of Florence, is well-documented.

UGOLINO DI NERIO Three panels from the Santa Croce Altar Poplar Staatliche Museen, Berlin The early Italian High Altar by Ugolino di Nerio for Santa Croce, the great Franciscan church of Florence, is well-documented.

Lorenzo Veneziano -	Polyptych of Santa Maria della Celestia,	1351-1400,	tempera on wood, 72 cm (28.3 in) x 29 cm (11.4 in). (centre),	 Pinacoteca di Brera, Milan (1187×1100)

Page of Polyptych of Santa Maria della Celestia by LORENZO VENEZIANO in the Web Gallery of Art, a searchable image collection and database of European painting, sculpture and architecture

PAOLO VENEZIANO Polyptych  c. 1350 Tempera on panel, 167 x 285 cm Gallerie dell'Accademia, Venice  The development of the art of Paolo Veneziano is characterized by a kind of see-sawing supremacy of one or the other of two influences: on the one hand, the advances being made in contemporary Italian painting and on the other the traditions of oriental figurative art

Page of Polyptych by PAOLO VENEZIANO in the Web Gallery of Art, a searchable image collection and database of European painting, sculpture and architecture

GIOTTO di Bondone No. 1 Scenes from the Life of Joachim: 1. Rejection of Joachim's Sacrifice  1304-06 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua  The elderly Joachim is denied entry to the temple, as he has remained childless. The architecture reinforces the priest's gesture of rejection, to which the saint replies with a saddened look. The sheep, as a sacrificial animal that has become superfluous, has a particularly touching effect.

Giotto, No. 1 Scenes from the Life of Joachim: Rejection of Joachim's Sacrifice , Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua

LORENZETTI, Ambrogio St Michael  1330-35 Tempera on wood, 110,5 x 94,5 cm Museo d'Arte Sacra, Asciano  The panel was the central part of a polyptych executed for the Benedictine monastery church established by Guido Tarlati, bishop of Arezzo, in 1319.

LORENZETTI, Ambrogio St Michael 1330-35 Tempera on wood, 110,5 x 94,5 cm Museo d'Arte Sacra, Asciano The panel was the central part of a polyptych executed for the Benedictine monastery church established by Guido Tarlati, bishop of Arezzo, in 1319.

'`stigmatization` von st francis (detail', tempera von Giotto Di Bondone (1266-1337, Italy)

`stigmatization` des r francis (détail - (Giotto Di Bondone)

Andrea di Bonaiuto (14th century) Madonna and Child with Saints Leonard, Nicholas, John the Baptist, and Elijah  Datebetween 1360 and 1362MediumwoodCurrent location  Santa Maria del Carmine, Florence

Andrea di Bonaiuto century) Madonna and Child with Saints Leonard, Nicholas, John the Baptist, and Elijah Datebetween 1360 and location Santa Maria del Carmine, Florence

Birth of Jesus, Bernardo Daddi, 1335-40. Web Gallery of Art.

Bernardo Daddi TriptychDatebetween 1335 and on panelDimensionsHeight: 59 cm in). Width: 53 cm in).