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拍品專文
Les rares exemples arrivés jusqu’à nous de la sculpture vénitienne du début du XVe siècle se distinguent par des représentations de la résurrection du Christ particulièrement émouvantes, les paumes ouvertes révélant les stigmates et la plaie visible dans sa poitrine. Les grandes feuilles d’acanthe et le tabernacle très marqué encadrant la scène sont similaires au répertoire décoratif des œuvres du Maître de l’autel des Mascoli, un sculpteur nommé d’après un autel et un antependium en marbre se trouvant dans la chapelle Mascoli à Saint-Marc de Venise (Pope-Hennessy, loc. cit.). Des feuillages naturalistes comparables sont présents sur d’autres autels, comme celui signé par Andrea da Giona, au Metropolitan Museum of Art, New York (Castelnuovo-Tedesco, loc. cit.). Cependant, notre relief avec son élégante composition, le drapé linéaire, le placement du Christ et de la tombe dans un même plan à l’avant, se rapproche plus de la fin du style gothique international évident sur l’autel de Saint-Marc, que certains historiens ont donné à Giovanni Bon, père de Bartolomeo.
This rare survival of early fifteenth century Venetian sculpture is distinguished by its deeply moving depiction of Christ's resurrection from the tomb, his palms open to reveal the stigmata and the wound in his chest still visible. The sweeping acanthus fronds and sharply-stepped tabernacle that frame the scene are similar to decorative devices seen in the work of the sculptor known as the Master of the Mascoli Altar, named after a marble altarpiece and antependium in the Mascoli chapel in St. Mark's Venice (J. Pope-Hennessy, Italian Gothic Sculpture, London, 1955, pp. 222-3, pls. 104-5). Similar naturalistic foliage are seen in other altarpieces, such as the one signed by Andrea da Giona, now in the Metropolitan Museum of Art, New York (L. Castelnuovo-Tedesco and J. Soultanian, Italian Medieval Sculpture in the Metropolitan Museum of Art and The Cloisters, New York, 2010, cat. no. 49). However, the elegant composition, with its linear drapery, and the placing of Christ and his tomb in a forward plane, most closely relates to the late International Gothic style evident in the altar at St Mark's, that some scholars have given to Giovanni Bon, father of Bartolomeo.
This rare survival of early fifteenth century Venetian sculpture is distinguished by its deeply moving depiction of Christ's resurrection from the tomb, his palms open to reveal the stigmata and the wound in his chest still visible. The sweeping acanthus fronds and sharply-stepped tabernacle that frame the scene are similar to decorative devices seen in the work of the sculptor known as the Master of the Mascoli Altar, named after a marble altarpiece and antependium in the Mascoli chapel in St. Mark's Venice (J. Pope-Hennessy, Italian Gothic Sculpture, London, 1955, pp. 222-3, pls. 104-5). Similar naturalistic foliage are seen in other altarpieces, such as the one signed by Andrea da Giona, now in the Metropolitan Museum of Art, New York (L. Castelnuovo-Tedesco and J. Soultanian, Italian Medieval Sculpture in the Metropolitan Museum of Art and The Cloisters, New York, 2010, cat. no. 49). However, the elegant composition, with its linear drapery, and the placing of Christ and his tomb in a forward plane, most closely relates to the late International Gothic style evident in the altar at St Mark's, that some scholars have given to Giovanni Bon, father of Bartolomeo.