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GADDI, Taddeo
General view of the Baroncelli Chapel sg
1328-30
Fresco
Cappella Baroncelli, Santa Croce, Florence
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GADDI, Taddeo
Life of the Virgin (detail) sdg
1328-30
Fresco
Cappella Baroncelli, Santa Croce, Florence
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GADDI, Taddeo
Life of the Virgin (detail) dwry
1328-30
Fresco
Cappella Baroncelli, Santa Croce, Florence
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GADDI, Taddeo
Life of the Virgin (detail) dfhh
1328-30
Fresco
Cappella Baroncelli, Santa Croce, Florence
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GADDI, Taddeo
The Angelic Announcement to the Sheperds fg
1327-30
Fresco
Cappella Baroncelli, Santa Croce, Florence
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GADDI, Taddeo
Presentation of Mary in the Temple dsg
1327-30
Fresco
Cappella Baroncelli, Santa Croce, Florence
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GADDI, Taddeo
Allegory of the Cross sg
Panel
Santa Croce, Florence
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GADDI, Taddeo
Stigmatization of St Francis s
Stained glass window
Cappella Baroncelli, Santa Croce, Florence
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GADDI, Taddeo
Life of the Virgin sg
1328-30
Fresco
Cappella Baroncelli, Santa Croce, Florence
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GADDI, Taddeo
Life of the Virgin dgss
1328-30
Fresco
Cappella Baroncelli, Santa Croce, Florence
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GADDI, Taddeo
Madonna and Child Enthroned with Angels and Saints sd
1355
Tempera on wood, 154 x 80 cm
Galleria degli Uffizi, Florence
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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
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GADDI, Taddeo
The Adoration of the Shepherds
mk67
Tempera on panel
18 7/8x16 15/16in
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GADDI, Taddeo
Life of the Virgin
mk156
1300-66
c.1330
Fresco
Baroncelli Chapel
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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
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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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