GADDI, Taddeo
Italian Early Renaissance Painter, ca.1300-1366 Italian painter active in Florence. He was the son of a painter and mosaicist and a student of Giotto. His best-known works are frescoes in the church of Santa Croce in Florence. He directed a flourishing workshop for three decades, producing pictures in the style of Giotto but featuring more vivid picturesque effects with narrative detail. His son and pupil Agnolo (c. 1350 C 96) was an influential and prolific artist who likewise produced a notable series of frescoes for Santa Croce, The Legend of the True Cross
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GADDI, Taddeo Madonna and Child Enthroned with Angels and Saints sd oil painting


Madonna and Child Enthroned with Angels and Saints sd
1355 Tempera on wood, 154 x 80 cm Galleria degli Uffizi, Florence
Painting ID::  6764 		GADDI, Taddeo
Madonna and Child Enthroned with Angels and Saints sd
1355 Tempera on wood, 154 x 80 cm Galleria degli Uffizi, Florence
   
   
     
GADDI, Taddeo Saint Eligius in the Goldsmith's Shop (nn03) oil painting


Saint Eligius in the Goldsmith's Shop (nn03)
c 1365 Tempera on panel 35 x 39 cm 13 3/4 x 15 3/8 in Museo del Prado Madrid
Painting ID::  23294 		GADDI, Taddeo
Saint Eligius in the Goldsmith's Shop (nn03)
c 1365 Tempera on panel 35 x 39 cm 13 3/4 x 15 3/8 in Museo del Prado Madrid
   
   
     
GADDI, Taddeo The Adoration of the Shepherds oil painting


The Adoration of the Shepherds
mk67 Tempera on panel 18 7/8x16 15/16in
Painting ID::  29698 		GADDI, Taddeo
The Adoration of the Shepherds
mk67 Tempera on panel 18 7/8x16 15/16in
   
   
     
GADDI, Taddeo Life of the Virgin oil painting


Life of the Virgin
mk156 1300-66 c.1330 Fresco Baroncelli Chapel
Painting ID::  40137 		GADDI, Taddeo
Life of the Virgin
mk156 1300-66 c.1330 Fresco Baroncelli Chapel
   
   
     
GADDI, Taddeo Life of the Virgin oil painting


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
Painting ID::  64730 		GADDI, Taddeo
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
   
   
     
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     GADDI, Taddeo
     Italian Early Renaissance Painter, ca.1300-1366 Italian painter active in Florence. He was the son of a painter and mosaicist and a student of Giotto. His best-known works are frescoes in the church of Santa Croce in Florence. He directed a flourishing workshop for three decades, producing pictures in the style of Giotto but featuring more vivid picturesque effects with narrative detail. His son and pupil Agnolo (c. 1350 C 96) was an influential and prolific artist who likewise produced a notable series of frescoes for Santa Croce, The Legend of the True Cross

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