Who painted trittico con madonna dell'umiltà, ss. antonio abate jacopo?

trittico con madonna dell'umiltà, ss. antonio abate jacopo was painted by Andrea di Bartolo.

Where can I see trittico con madonna dell'umiltà, ss. antonio abate jacopo?

trittico con madonna dell'umiltà, ss. antonio abate jacopo is held by Brooklyn Museum.

What movement is trittico con madonna dell'umiltà, ss. antonio abate jacopo?

trittico con madonna dell'umiltà, ss. antonio abate jacopo is associated with Early Renaissance.

Artwork

trittico con madonna dell'umiltà, ss. antonio abate jacopo

Andrea di Bartolo

trittico con madonna dell'umiltà, ss. antonio abate jacopo is an unspecified painting by the Early Renaissance artist Andrea di Bartolo. It is held in the collection of the Brooklyn Museum.

About this work

Overview

Created around 1410, this early 15th‑century triptych is attributed to the Sienese painter Andrea di Bartolo. The work consists of a central panel flanked by two hinged wings, allowing it to be closed. It is presently part of the collection of the Brooklyn Museum, where it is displayed as an example of devotional panel painting from the Italian Trecento.

Subject & Meaning

The central image presents a woman in a black habit holding an infant, identified as the Madonna and Child, a common focus of private devotion. The left and right wings portray a man in a blue robe and a woman in pink, likely representing Saint Antonio Abate and Saint Jacopo, respectively, framing the central holy figures within a narrative of intercessory saints.

Technique & Style

Executed in tempera on wood, the panels are set against a luminous gold ground, a hallmark of Sienese painting that emphasizes spiritual radiance.

Executed in tempera on wood, the panels are set against a luminous gold ground, a hallmark of Sienese painting that emphasizes spiritual radiance. Intricate ornamental patterns adorn the background, while the figures are rendered with delicate linear modeling and rich, saturated pigments, reflecting the workshop’s skill in combining decorative surface treatment with graceful figural representation.

History & Provenance

The triptych was produced in the early 1400s for a devotional context, possibly a private chapel or confraternity. It entered the Brooklyn Museum’s holdings in the 20th century, having passed through several private collections before being acquired by the institution, where it contributes to the museum’s European medieval holdings.

Context

Andrea di Bartolo worked in the tradition of Siena’s golden‑age painters, inheriting stylistic traits from predecessors such as Duccio and Simone Martini. The use of gold leaf and the triptych format align the work with contemporary liturgical art intended for personal prayer, reflecting the period’s emphasis on intimate, contemplative religious experience.