An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
Madonna and Child Enthroned with Saints1339
Artist: Bernardo Daddi
Italian (Florence), c. 1290 - 1348
Religion: NT. Triptych, center panel gabled; wings together form gable. Madonna and Child with Paul, Peter, Catherine and Helena. Francis. Miracles. Stigmatization of Francis in retreat on Mount Alverna. Annunciation. Mary, usually reading, is visited by the Angel. Crucified Christ with Mary and John the Evangelist. Central panel Madonna and Child enthroned; the child stands in his mother's lap facing her, his arms extended; the Virgin looks at him with a half smile; she wears a red lined blue mantel over a dark red gown; back of throne decorated with slender arabesques on scarlet ground; to left of throne stands St. Helen and St. Peter, to the right St. Catherine and St. Paul; the colors of their robes are ivory, rose, mauve, gold, dull green; gold leaf background; left wing St. Francis Receiving the Stigmata; dull mauve robe; angel's drapery scarlet; gold background; right wing Crucifixion; Mary in black standing at foot of cross; gold leaf background; Pinnacles The Annunciation, Virgin's robe black against scarlet background with decorative motifs of throne, angel, diaphanous rose drapery against gold leaf background; panels bordered with incised motif, haloes bear incised decoration; gold background brilliant, colors fresh. Unsigned.
23 3/8 x 19 15/16 x 1 7/8 in. (59.42 x 50.64 x 4.76 cm)
23 3/8 x 10 x 1 7/8 in. (59.37 x 25.4 x 4.76 cm) (panel, center)
18 11/16 x 5 x 7/8 in. (47.47 x 12.7 x 2.22 cm) (panel, right)
18 9/16 x 4 15/16 x 7/8 in. (47.15 x 12.54 x 2.22 cm) (panel, left)
Tempera and gold ground on poplar panel
Painting
Italy
14th century
The Ethel Morrison Van Derlip Fund
In a quiet corner of the world, there existed a small, portable triptych—a delicate and intimate artwork crafted not for the grand halls of palaces, but for personal devotion. This triptych opened like a window into a realm of faith and history, revealing its treasures to those who dared to glimpse within.
As one approached, the center was dominated by the captivating figure of the enthroned Virgin, cradling the Child in her arms. Her presence was calming, a beacon of love and warmth that seemed to radiate peace. To her left stood Saints Helena and Peter, their figures gracefully arching towards her, as if sharing in the sacred bond of the moment. On the right, Saints Catherine of Alexandria and Paul mirrored their companions, their serene expressions embodying a sense of loyalty and reverence.
Each wing of the triptych told its own poignant story. On the left, a haunting scene captured the fragile moment when St. Francis of Assisi received the stigmata—the same wounds that Christ endured on the Cross. The weight of this transformation pressed heavily against the hearts of onlookers, inviting them to reflect on the beauty of suffering and devotion.
To the right, the atmosphere grew somber. The Crucifixion unfolded in quiet agony, with the mourning Virgin and St. John the Evangelist etched in sorrow, their faces reflecting the profound grief that accompanied such a loss. The depth of their emotion seemed to linger in the air, a reminder of love's enduring strength even in the face of despair.
This exquisite piece of art was the work of Bernardo Daddi, a gifted artist who walked closely in the footsteps of the great Giotto—a master who had first illuminated the human form with a sculptural quality. Daddi carried that torch forward, yet he was also profoundly shaped by the Sienese school, which breathed a lyrical sense of line and the subtlety of tonal variation into his work.
Each stroke and scene in the triptych, meticulously crafted, told of the devotion and belief that transcended time, inviting all who beheld it into a serene dance between the divine and the human experience. In its presence, there lay not just art, but a quiet reflection of faith that had echoed through the ages.
About the artist
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