The Assumption of the Virgin ca. 1337–39 Bernardo Daddi Italian Bernardo Daddi may have trained in the Florentine workshop of Giotto, a pivotal figure in the history of European painting. Daddi fused Giotto’s grandeur and monumentality with a refined grace and lyricism. It has been suggested that while Daddi was responsible for the design of this panel, it was executed by a leading member of his workshop. The panel is likely the upper half of an important altarpiece painted for a chapel in the Cathedral of Prato, near Florence, which houses the highly venerated girdle, or belt, of the Virgin M

The Assumption of the Virgin ca. 1337–39 Bernardo Daddi Italian Bernardo Daddi may have trained in the Florentine workshop of Giotto, a pivotal figure in the history of European painting. Daddi fused Giotto’s grandeur and monumentality with a refined grace and lyricism. It has been suggested that while Daddi was responsible for the design of this panel, it was executed by a leading member of his workshop. The panel is likely the upper half of an important altarpiece painted for a chapel in the Cathedral of Prato, near Florence, which houses the highly venerated girdle, or belt, of the Virgin Mary. As evidence of her Assumption, the Virgin lowers her girdle to St. Thomas, whose hands are visible at the panel’s lower edge and who was depicted in the missing lower section of the painting. Listen to experts illuminate this artwork's story Listen Play or pause #4715. The Assumption of the Virgin Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as The Assumption of the Virgin. Bernardo Daddi (Italian, Florence (?) ca. 1290–1348 Florence) (possibly with workshop assistance). ca. 1337–39. Tempera on wood, gold ground. Paintings

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