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拍品专文
This panel dates from Giovanni di Paolo’s early maturity, when his career began to flourish in Siena. Although working independently, Giovanni was influenced by Taddeo di Bartolo and Gentile da Fabriano, and likely had contact with French and Lombard painters. Indeed, his earliest known patron was the Lombard Anna Castiglione who was also a significant patron of the Sienese painter, sculptor, and architect Vecchietta (1410–1480).
As Keith Christiansen observes, this painting closely adheres to traditional Sienese iconography of the Resurrection, depicting Christ before the cave’s entrance, with the open tomb clearly visible behind (K. Christiansen, op. cit., p. 142). Christiansen identifies compositional affinities between this panel and two other Sienese depictions of the subject: one by Andrea di Bartolo in the Walters Art Gallery, Baltimore (inv. no. 37.741), and another by Sano di Pietro in the Wallraf-Richartz Museum, Cologne (inv. no. 726; ibid.). Unusually, however, Christ here is clothed in a richly patterned damask robe instead of the conventional white drapery of a burial shroud.
Christiansen dates the present work to the late 1420s, placing it within the formative phase of Giovanni di Paolo’s artistic career (ibid.). Carl Brandon Strehlke, by contrast, proposes a slightly later dating, to the early 1430s. He notes stylistic parallels between figures in this panel and those in securely dated works of that decade, particularly the Madonna of Mercy (1431) in Santa Maria dei Servi, Siena, and the panel depicting Saints Matthew and Francis of Assisi in the Metropolitan Museum of Art, New York (inv. no. 88.3.11; C.B. Strehlke, op. cit., p. 172).
As Keith Christiansen observes, this painting closely adheres to traditional Sienese iconography of the Resurrection, depicting Christ before the cave’s entrance, with the open tomb clearly visible behind (K. Christiansen, op. cit., p. 142). Christiansen identifies compositional affinities between this panel and two other Sienese depictions of the subject: one by Andrea di Bartolo in the Walters Art Gallery, Baltimore (inv. no. 37.741), and another by Sano di Pietro in the Wallraf-Richartz Museum, Cologne (inv. no. 726; ibid.). Unusually, however, Christ here is clothed in a richly patterned damask robe instead of the conventional white drapery of a burial shroud.
Christiansen dates the present work to the late 1420s, placing it within the formative phase of Giovanni di Paolo’s artistic career (ibid.). Carl Brandon Strehlke, by contrast, proposes a slightly later dating, to the early 1430s. He notes stylistic parallels between figures in this panel and those in securely dated works of that decade, particularly the Madonna of Mercy (1431) in Santa Maria dei Servi, Siena, and the panel depicting Saints Matthew and Francis of Assisi in the Metropolitan Museum of Art, New York (inv. no. 88.3.11; C.B. Strehlke, op. cit., p. 172).