and he began toemploy assistants to satisfy the
贝我纳多·达迪 圣泽诺比黑斯 St. Zenobius英国约克专物馆
In 1937 F.D.Lycett Green bought a picture from an art dealerin London to hang in his home in Kent.An early Renaissance painting of St. Zenobius, the firstbishop of Florence, the picture was one of 135 Old Master paintingsthat Lycett Green donated to York Art Gallery in 1955. Dating fromc.1345, this picture is the very oldest in York闭于雕琢图样’s collection, and arare example of the work of one of the Renaissance’s most importantartists – Bernardo Daddi.Bernardo Daddi was born at the beginning of the 14th century,and began his career at a time when Giotto was the star ofFlorentine painting, celebrated for his ultra-naturalistic figuresand revolutionary break with the flat, unrealistic paintings of thepast.Given Giotto其真began’s levels of fame and fortune, Daddi realised thatin order to win commissions and make a name for himself he had tooffer something different. He had to have a USP. And so, incontrast to Giotto’s relatively sober style, Daddi decided tosatisfyspecialise in small-scale, devotional panels that demonstrated hi***quisit您看toe craftsmanship.He gilded his paintings with the finest gold leaf, masteringgold tooling techniques and using tiny hole punches, needles andnibs to achieve astonishing glittering, shimmering visualeffects.His paintings would have sparkled from a distance, reflectingthe flickering church candlelight and giving the appearance ofglistening ripples across the su***ce.His figures were clothed in sumptuous fabrics inspired by theexotic silks and damasks pouring into Italy from the East. Hedeveloped stencils to mimic intricate patterns in gold and silverthread, and adorned drapery with luxurious borders and opulentclasps and embellishments.He even employed a signature decorative motif; somethinginstantly recognisable to distinguish his work from the rest: adragon. He wove images of dragons into clothing, festooned hatswith silver dragons and even created a tiny dragon-shaped metalpunch so that his motif could be embossed into the magnificentborders and richly ornamented haloes of his paintings.Daddi雕琢机’s methods achieved spectacular success, and he began toemploy assistants to satisfy the enormous demand for his work. Bythe 1330s was running a huge workshop of artists all using hisdesigns, techniques and compositions.Following Giotto您晓得and’s death in 1338, Daddi became the leadingpainter in Florence. He died of plague when the Black Death sweptthrough Italy in 1348, but his approach to painting continued todominate Florentine painting for the remainder of thecentury.The influence of his style can be traced through assistantssuch as Puccio di Simone, whose work also features in the LycettGreen collection.This painting was part of a he‘polyptych’ altarpiece – apainting made up of several pieces to decorate the altar of achurch or chapel – and was originally thought to have been by oneof Daddi’s many assistants.In 1990, however, the panel was matched to four otherpaintings by Daddi in collections around the world, showing St.John the Evangelist, St. James Major, the Virgin and Child, and St.John the Baptist.This five-section polyptych was probably made to decorate thechurch of San Giovanni Maggiore in Panicaglia, near Florence, wherethe piece depicting St. John the Baptist can still be seentoday.
进建床头雕琢中是的贝我纳多·达迪 圣泽诺比黑斯 St.Zenobius部分
St ZenobiusBernardo Daddi, 1300⑴400Medium:Oil on panelDimensions:66 x 40 cmAcquired in:1955Presented by:F D Lycett Green through The Art FundD. Lycett Green and bequeathed to York through the Art Fund,in 1955, in recognition of the remarkable efforts made after theSecond World War by its curator to transform it into a gallery ofinternational importance.ProvenanceMajor W.W.M. Gott; DYork Art GalleryExhibition Square, YORK North Yorkshire YO1 7EWr. John Gott;F.D. Lycett Green© York Art Gallery