BARTOLO DI FREDI

Sienese painter, pupil of Ambrogio Lorenzetti. His best two frescoGLOSSARYWall painting technique in which pigments are applied to wet (fresh) plaster (intonaco). The pigments bind with the drying plaster to form a very durable image. Only a small area can be painted in a day, and these areas, drying to a slightly different tint, can in time be seen. Small amounts of retouching and detail work could be carried out on the dry plaster, a technique known as a secco fresco. cycles are at S. Gimignano, one dealing with Old Testament subjects in the Collegiata (1356) and one in the church of S. Agostino on the birth and death of the Virgin (1366).

He was the most successful Sienese painter of the later fourteenth century. He shared a workshop with Andrea Vanni, and produced a large number of altarpieces and frescoes, and, in addition, collaborated with other artists on mural and altarpieceGLOSSARYA picture or sculpture that stands on or is set up behind an altar. The term reredos is used for an ornamental screen or partition, not directly attached to the altar table but affixed to the wall behind it. A diptych is an altarpiece consisting of two panels, a triptych one of three panels, and a polyptych one of four or more panels. From the 14th to 16th century, the altarpiece was one of the most important commissions in European art; it was through the altarpiece that some of the most decisive developments in painting and sculpture came about. paintings and polychrome sculptures. He worked on many of his most important commissions with his son, Andrea di Bartolo.