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Lot Essay
This panel exhibits a profound knowledge of traditional Cretan icon painting with strong influences from various schools of the Italian Renaissance. Its style and iconography are very close to other Italo-Cretan icons of the Adoration and the Nativity produced during the fifteenth and sixteenth centuries, and it is possible to compare this icon with other examples in collections in Athens, Thessaloniki and St. Petersburg.
Nano Chatzidakis in his article 'The Adoration of the Magi: an Icon by a Greek Painter of the early Renaissance' (Euphrosynon, II, Athens, 1992, pp. 713-39, English summary pp. 740-1) compares the landscape to that in an icon of The Agony in the Garden at the Fogg Art Museum, as well as a Saint Peter at Vicenza, and the Miracle of the Paralytic at Parma. In addition he points to similarities in the icon of the Mother of God at the Museo Correr signed by Ioannis Permeniates, a painter of the Greek community in Venice during the first decades of the sixteenth century. The strong similarities in the present icon to that discussed by Chatzidakis confirm its attribution to the same icon painter or his workshop.
We are indebted to Dr. Maria Vassilaki for her assistance with this attribution.
Nano Chatzidakis in his article 'The Adoration of the Magi: an Icon by a Greek Painter of the early Renaissance' (Euphrosynon, II, Athens, 1992, pp. 713-39, English summary pp. 740-1) compares the landscape to that in an icon of The Agony in the Garden at the Fogg Art Museum, as well as a Saint Peter at Vicenza, and the Miracle of the Paralytic at Parma. In addition he points to similarities in the icon of the Mother of God at the Museo Correr signed by Ioannis Permeniates, a painter of the Greek community in Venice during the first decades of the sixteenth century. The strong similarities in the present icon to that discussed by Chatzidakis confirm its attribution to the same icon painter or his workshop.
We are indebted to Dr. Maria Vassilaki for her assistance with this attribution.