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Triptych

Navn Klasse Dato

Bartolomeo Vivarini, Triptych (1473), Santa Maria Formosa. Public domain. Se dette lærred i bevægeligt lys: tegningen, den sande farve under lakken, det rå pigment

Fakta om værket

Kunstner
Bartolomeo Vivarini wahooart.com/da/artists/bartolomeo-vivarini_da-1/
Kunstnerens årstal
1440 – 1499
Malet
1473
Medie
Tempera On Panel Pigment mixed with egg yolk — fast-drying, matt, and used for centuries before oil paint arrived.
Oprindelig størrelse
146 x 71 cm
Bevægelse
Italian Renaissance The brief peak when balance, depth and anatomy came together — Leonardo, Raphael, Michelangelo.
Periode
Renaissance
Afholdt hos
Santa Maria Formosa wahooart.com/da/museums/santa-maria-formosa-venice/
Subject or theme
Virgin Mary and Baby Jesus

I kontekst

Triptych — Bartolomeo Vivarini

Hvor stor er den?

Originalen måler 146 × 71 cm (højde × bredde), vist her ved siden af en voksen person af gennemsnitlig højde.

Hvornår er dette malet?

  1. 1440
  2. 1450
  3. 1460
  4. 1470
  5. 1480
  6. 1490

Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 59 ved død.

Malet da kunstneren var 33 år gammel. Kunstneren blev 59 år gammel. 3 af de 28 daterede værker af denne kunstner i vores katalog er skabt tidligere.

Skyggelagt: Bartolomeo Vivarini' livstid (1440–1499) ▲ dette værk, 1473 hvert dateret maleri, årti for årti

Første værker: frem til 1473 Primære arbejdsår: 1473–1481 Senere værker: fra 1481

Disse tre intervaller opdeler de værker i denne katalog, der er dateret, i et første kvartal, en midterste halvdel og et sidste kvartal. De udgør ikke kunstnerens samlede produktion: en tynd periode kan være et hul i dokumentationen snarere end en stille periode. De samme år, som kunstnerens liv er vævet ind i dem

Sammenlign med

Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.

Se flere lignende værker her: wahooart.com/da/art/similar/bartolomeo-vivarini-triptych-8Y2VLV-en/

Farver

Målt ud fra billedet

    Primær farve

    Celadon #bebbbe

    Katalogiseret palet

    • #BEBBBE
    • #895645
    • #1C110E
    • #54291C

    Disse farver i kunstnerens samlede palet Find andre malerier efter farve

    Farvepalette
    Earthy Den dominerende farvefamilie i billedet.
    Navn på hovedfarve
    Celadon
    Intensitet
    Monochromatic Hvor mættede og varierede farverne er, fra en enkelt dæmpet nuance til mange klare nuancer.
    Kontrast
    Statement Hvor meget farverne varierer i lysstyrke og mætning på tværs af billedet.
    Harmoni
    Strong Color Unity Hvor godt farverne spiller sammen, fra kontrasterende til fuldstændig harmoniske.
    Lysstyrke
    Shadow Hvor lyst eller mørkt billedet fremstår samlet set, fra dybe skygger til lyse højlys.
    Mætning
    Subtle Color Hvor rene og stærke farverne er, fra næsten grå til fuldt livlige.

    Hvor i verden bliver dette maleri set?

    • mindst 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% og derover
    Dette maleri alene har for få registrerede besøgende til at kunne kortlægges, så pladen viser alle værker af Bartolomeo Vivarini i løbet af de sidste tolv måneder — 6 lande i alt. Kildehenvisning til disse tal

    De ti førende lande

    1. 1 Kina 50,0%700 visits
    2. 2 USA 21,4%300 visits
    3. 3 Canada 7,1%100 visits
    4. 4 Hong Kong 7,1%100 visits
    5. 5 Italien 7,1%100 visits
    6. 6 Singapore 7,1%100 visits

    Find de tre mørkeste lande på kortet. Findes det museum, der opbevarer dette maleri, i et af dem? Skriv én grund på, hvorfor folk langt væk måske ville se på det.

    De 12 mest viste værker af Bartolomeo Vivarini

    1. 1 Triptych of St Mark (Pala di San Marco), 1474 20,0%400 visits
    2. 2 Bartolomeo Vivarini - Madonna og barn 15,0%300 visits
    3. 3 Altertavlen, 1485 10,0%200 visits
    4. 4 Madonna della Misericordia, 1473 10,0%200 visits
    5. 5 Triptych of St Mark (Pala di San Marco), 1474 10,0%200 visits
    6. 6 Madonna på Trone, 1482 10,0%200 visits
    7. 7 Virgin and Child with Sts John the Baptist and Andrew, 1478 5,0%100 visits
    8. 8 Polyptych, 1464 5,0%100 visits
    9. 9 St Roch and the Angel, 1480 5,0%100 visits
    10. 10 Virgin Enthroned with Child and Saints, 1487 5,0%100 visits
    11. 11 St Nicholas of Bari 5,0%100 visits
    12. — Triptych, 1473 dette maleri 0,0%0 visits

    Sammen udgør disse værker 100,0% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 35 værker af denne kunstner, hvoraf 11 er blevet set mindst én gang. Dette maleri er endnu ikke blevet vist i denne periode — det afslutter listen uden en rangering. Det samme gælder måned for måned

    Søjlerne måler opmærksomhed, ikke kvalitet. Vælg værket øverst og dette her: nævn én ting, der kan gøre et maleri berømt udover selve det tekniske håndværk.

    Kunstner og museum

    Kunstner

    Bartolomeo Vivarini

    Født i Murano, Italien

    A Legacy of Venetian Light and Devotion

    In the vibrant, shimmering atmosphere of the Quattrocento, Bartolomeo Vivarini emerged as a pivotal figure in the evolution of Venetian painting. Born in the storied glassmaking hub of Murano, Italy, he was part of an influential dynasty of artists that helped shape the visual identity of the Republic of Venice. As a member of the Vivarini family, his life and work were deeply intertwined with the artistic pulse of his homeland, bridging the transition from the ornate, gilded traditions of the late Gothic period to the burgeoning humanism of the early Renaissance.

    The artistry of Vivarini is characterized by a profound sense of spiritual depth and technical precision. While he was a master of tempera, often utilizing gold leaf to imbue his compositions with a celestial luxury, he was also an innovator in the use of new mediums. It is noted that he learned the art of oil painting from Antonello da Messina, and he is credited with producing what is believed to be the first oil painting in Venice around 1473. This mastery allowed him to manipulate light and texture in ways that brought a new level of intimacy and serenity to his religious subjects.

    Mastery of Form and Symbolism

    Vivarini’s work often presents a striking balance between hard, defined outlines and a rich, emotive color palette. His figures frequently possess a dignified and devout expression, capturing the solemnity required for the altarpieces that adorned Venetian basilicas. This ability to convey human emotion through structured forms made him a sought-after painter for significant religious commissions. A notable example of his skill is found in his Madonna and Child, where he uses light entering through windows and deep red drapery to create a sense of sacred space.

    Beyond the figures themselves, Vivarini’s paintings are often layered with symbolic meaning:

    The use of gold: His frequent application of gold leaf serves not only as decoration but as a medium to represent divine light.

    Natural motifs: In a charming nod to his name—as vivarino translates to goldfinch in Italian—he occasionally included the small bird as a subtle signature within his works.

    Architectural depth: His compositions, such as the Conversano Polyptych, demonstrate a sophisticated understanding of perspective and the integration of sacred figures into complex, multi-paneled structures.

    Historical Significance and Artistic Influence

    The historical importance of Bartolomeo Vivarini lies in his role as a bridge between eras. He stood at the crossroads of the Byzantine-influenced traditions of his predecessors and the revolutionary Renaissance styles brought by artists like Fra Angelico and Giovanni Bellini. By blending these diverse influences, he helped establish a unique Venetian visual language—one that prioritized luminous color and emotional resonance.

    His influence extended through his family lineage, notably impacting the work of his nephew, Alvise Vivarini, who would become a leading artist in Venice before the rise of Bellini. Through his meticulous detail and his pioneering adoption of oil techniques, Bartolomeo Vivarini left an indelible mark on the history of Italian art, ensuring that the spiritual and aesthetic grandeur of Murano and Venice would be preserved for generations to come.

    Museum

    Santa Maria Formosa

    Udstillet i Venice, Italy

    A Venetian Renaissance Jewel: Palazzo Grimani di Santa Maria Formosa

    Nestled within the labyrinthine beauty of Venice’s Castello district, near the historic Campo Santa Maria Formosa, lies a hidden gem – the Palazzo Grimani di Santa Maria Formosa. More than just a museum, it's a meticulously preserved Renaissance residence that offers an unparalleled glimpse into the opulent lifestyle and intellectual pursuits of one of Venice’s most influential families: the Grimanis. This State museum isn’t merely a collection of artworks; it’s a tangible portal to 16th-century Venetian society, where classical ideals intertwined with the unique character of the city.

    The palace's story begins in the medieval era, with a modest structure acquired by Antonio Grimani, who would later become Doge. However, it was his grandsons, Vettore and Giovanni Grimani – both prominent figures in Venetian politics – who truly transformed the building into the breathtaking Renaissance masterpiece we see today. Inspired by the grandeur of ancient Roman domus, they embarked on an ambitious project, commissioning some of Venice’s most celebrated artists to adorn its interiors with frescoes, stucco work, and sculptures. This transformation wasn't simply about aesthetics; it represented a conscious effort to elevate their family’s status and reflect their commitment to learning and the arts.

    Architectural Innovation and Artistic Flourishes

    What immediately distinguishes Palazzo Grimani is its remarkably innovative architecture. Departing from the traditional, imposing palazzi that dominate Venice, the Grimanis sought a more modern aesthetic, drawing inspiration from Roman models of private residences. The result is a spacious courtyard enclosed by elegant loggias, adorned with classical statues – a deliberate nod to the architectural principles of antiquity. The monumental staircase, designed by Federico Zuccari, stands as a testament to this ambition, its lavishly decorated walls depicting allegorical scenes that speak to virtue and civic duty.

    Within the palace’s rooms, one encounters exquisite examples of Venetian craftsmanship. Giovanni da Udine's intricate stucco work graces the Sala del Doge Antonio and the Sala a Fogliami, while Francesco Salviati and Giovanni da Udine’s frescoes in the Camerino di Callisto and Camerino di Apollo are breathtaking displays of color, composition, and narrative skill. The Tribune, once home to over one hundred pieces from the Grimani's vast archaeological collection – including the captivating sculpture of the Kidnapping of Ganymede – is a particularly remarkable feature, showcasing the family’s dedication to collecting both art and knowledge.

    A Treasure Trove of Artistic Patronage

    The museum’s collection offers a compelling window into the Grimani family's artistic patronage. Beyond the monumental frescoes and stucco work, highlights include fragments from the family’s extensive collection of sculptures, marbles, vases, bronzes, and gems – many of which now form part of the National Archaeological Museum of Venice. These remnants provide intimate glimpses into the Grimanis’ refined tastes and their appreciation for beauty and luxury. The Sala di Psiche houses a beautiful copy of Salviati's Adoration of Psyche, originally lodged in the middle of the wooden ceiling that was dismembered in the mid-nineteenth century.

    Notable Exhibitions and Unique Features

    Currently, Palazzo Grimani hosts several engaging temporary exhibitions. “Domus Grimani 1594-2019” explores the evolution of the palace’s sculpture collection over four centuries, while "Domus Grimani - The Doge's Room" offers a deeper dive into the life and times of the Grimani family. The Tribune itself remains a captivating space, housing a suspended sculpture that draws visitors in with its dramatic presence. What truly sets Palazzo Grimani apart is not just its artistic treasures but also its status as a preserved Renaissance residence – a rare opportunity to experience how a powerful Venetian family lived, thought, and entertained.

    Visiting Information

    Located near Campo Santa Maria Formosa in the Castello district, Palazzo Grimani offers an unforgettable journey into Venetian history and art. Allow ample time to explore its magnificent rooms, wander through the elegant courtyard, and immerse yourself in the splendor of Renaissance culture. The museum is open to the public, offering a unique opportunity to step back in time and connect with one of Venice’s most fascinating families.

    Læs mere her

    Findes online

    QR-kode med link til downloadside for Triptych

    wahooart.com/da/art/download/bartolomeo-vivarini-triptych-8Y2VLV-en/

    Kildehenvisning til dette kunstværk

    MLA
    Vivarini, Bartolomeo. Triptych. 1473, Santa Maria Formosa. https://wahooart.com/da/art/bartolomeo-vivarini-triptych-8Y2VLV-en/
    APA
    Vivarini, Bartolomeo (1473). Triptych [Painting]. Santa Maria Formosa. https://wahooart.com/da/art/bartolomeo-vivarini-triptych-8Y2VLV-en/
    Chicago
    Bartolomeo Vivarini. Triptych. 1473. Santa Maria Formosa. https://wahooart.com/da/art/bartolomeo-vivarini-triptych-8Y2VLV-en/
    Harvard
    Vivarini, Bartolomeo (1473) Triptych. Santa Maria Formosa. Available at: https://wahooart.com/da/art/bartolomeo-vivarini-triptych-8Y2VLV-en/

    Se nærmere efter

    Triptych — Bartolomeo Vivarini

    Se nærmere efter

    Svar med dine egne ord. Der er ingen forkerte svar her – kun svar, som du kan forklare.

    1. Hvad fanger dit øje først, og hvorfor?
    2. Hvilke farver eller former skaber stemningen — og hvad er den stemning?
    3. Vores katalog klassificerer dette værk under: madonna and child, virgin mary, religious art. Er du enig? Hvad ville du tilføje eller fjerne?
    4. Se tilbage på St Ambrose Polyptych (detail) (1477) tidligere i denne guide. Nævn to ting, som det har til fælles med dette værk, og én ting, der er forskellig.
    5. Italian Renaissance: The brief peak when balance, depth and anatomy came together — Leonardo, Raphael, Michelangelo. Hvor kan du se det i dette værk?

    Dit svar

    Skriv et kort afsnit om dette kunstværk. Brug fakta fra de tidligere dele af denne guide samt dine svar ovenfor.

    Spørgsmål og svar

    Hvem er "Triptych" af Bartolomeo Vivarini en god gave til?

    "Triptych" foreslås som en gave til Mother's Day.

    Hvor i hjemmet vil en reproduktion af "Triptych" passe godt ind?

    "Triptych" af Bartolomeo Vivarini anbefales til et Living Room. Denne anbefaling er baseret på værkets motiv, farver og stemning.

    I hvilket år og inden for hvilken stilart blev "Triptych" skabt?

    "Triptych" af Bartolomeo Vivarini er dateret 1473 og tilhører Italian Renaissance.