GADDI, TaddeoItalian Early Renaissance Painter, ca.1300-1366 | |||
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Madonna and Child Enthroned with Angels and Saints sd la Madone et l-Enfant Ont Intronisé avec sd d-Anges et Saints ID de tableau:: 6764 Voir la galerie dans Suède |
Madonna and Child Enthroned with Angels and Saints sd la Madone et l-Enfant Ont Intronisé avec sd d-Anges et Saints 1355 Tempera on wood, 154 x 80 cm Galleria degli Uffizi, Florence 1355 Détrempe sur le bois, 154 x 80 Uffizi de degli de Galleria de cm, Florence 1355 Tempera_on_wood,_154_x_80_cm Galleria_degli_Uffizi,_Florence |
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Saint Eligius in the Goldsmith's Shop (nn03) Eligius de Saint dans l~Atelier de l~Orfèvre (nn03) ID de tableau:: 23294 Voir la galerie dans Suède |
Saint Eligius in the Goldsmith's Shop (nn03) Eligius de Saint dans l~Atelier de l~Orfèvre (nn03) c 1365 Tempera on panel 35 x 39 cm 13 3/4 x 15 3/8 in Museo del Prado Madrid le c 1365 Détrempe sur le panneau 35 x 39 cm 13 3/4 x 15 3/8 dans Museo le del PradoMadrid c_1365 Tempera_on_panel_35_x_39_cm_13_3/4_x_15_3/8_in_Museo_del_Prado_Madrid |
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The Adoration of the Shepherds L~Adoration du Soigne ID de tableau:: 29698 Voir la galerie dans Suède |
The Adoration of the Shepherds L~Adoration du Soigne mk67 Tempera on panel 18 7/8x16 15/16in mk67 Détrempe sur le panneau 18 7/8x16 15/16in mk67 Tempera_on_panel 18_7/8x16_15/16in |
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Life of the Virgin la Vie du Vierge, mk156 1300-66 c. 1330 Chapelle de Baroncelli de Fresque ID de tableau:: 40137 Voir la galerie dans Suède |
Life of the Virgin la Vie du Vierge, mk156 1300-66 c. 1330 Chapelle de Baroncelli de Fresque mk156 1300-66 c.1330 Fresco Baroncelli Chapel mk156 1300-66 c.1330 Fresco Baroncelli_Chapel |
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Life of the Virgin ID de tableau:: 64730 Voir la galerie dans Suède |
Life of the Virgin 1328-30 Fresco Cappella Baroncelli, Santa Croce, Florence Taddeo Gaddi, one of Giotto's pupils painted the Baroncelli Chapel in the church of Santa Croce in Florence around 1328, brilliantly employing the technical achievements of his teacher. His scenes for the Life of the Virgin were painted with two goals in mind. First, to compose the painting so that it corresponded to the form of the chapel bay, which was arched. Second, by means of the architecture of the painting itself, to create a sufficiently deep stage for the sequence of events to be played out. Gaddi came up with an ingenious solution for the upper section directly under the arch. He placed the architecture of the temple directly beside a cliff which looms up on the right so that in the the upper section a quatrefoil shape is created, an open space out of which he let an angel descend. This served to link the scenes Joachim Driven from the Temple and the Annunciation to Joachim. The sections below, with their alternating interiors and exteriors, appear as sets in front of which, and in which, the events take place. From the Meeting at the Golden Gate (top left) we move on to the Birth of St John the Baptist, the Virgin on her Way to the Temple, and finally the Betrothal to Joseph. As in San Francesco in Assisi, the architecture of the painting is closely linked to the architecture of the church, the continuous narrative to the way a viewer reads. Artist:GADDI, Taddeo Title: Life of the Virgin, 1301-1350, Italian , painting , religious 1328-30_Fresco_Cappella_Baroncelli,_Santa_Croce,_Florence_Taddeo_Gaddi,_one_of_Giotto's_pupils_painted_the_Baroncelli_Chapel_in_the_church_of_Santa_Croce_in_Florence_around_1328,_brilliantly_employing_the_technical_achievements_of_his_teacher._His_scenes_for_the_Life_of_the_Virgin_were_painted_with_two_goals_in_mind._First,_to_compose_the_painting_so_that_it_corresponded_to_the_form_of_the_chapel_bay,_which_was_arched._Second,_by_means_of_the_architecture_of_the_painting_itself,_to_create_a_sufficiently_deep_stage_for_the_sequence_of_events_to_be_played_out._Gaddi_came_up_with_an_ingenious_solution_for_the_upper_section_directly_under_the_arch._He_placed_the_architecture_of_the_temple_directly_beside_a_cliff_which_looms_up_on_the_right_so_that_in_the_the_upper_section_a_quatrefoil_shape_is_created,_an_open_space_out_of_which_he_let_an_angel_descend._This_served_to_link_the_scenes_Joachim_Driven_from_the_Temple_and_the_Annunciation_to_Joachim._The_sections_below,_with_their_alternating_interiors_and_exteriors,_appear_as_sets_in_front_of_which,_and_in_which,_the_events_take_place._From_the_Meeting_at_the_Golden_Gate_(top_left)_we_move_on_to_the_Birth_of_St_John_the_Baptist,_the_Virgin_on_her_Way_to_the_Temple,_and_finally_the_Betrothal_to_Joseph._As_in_San_Francesco_in_Assisi,_the_architecture_of_the_painting_is_closely_linked_to_the_architecture_of_the_church,_the_continuous_narrative_to_the_way_a_viewer_reads.__Artist:GADDI,_Taddeo_Title:_Life_of_the_Virgin,__1301-1350,__Italian_,___painting_,___religious |
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| GADDI, Taddeo | ||||||||||
| Italian Early Renaissance Painter, ca.1300-1366 | ||||||||||
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