WORKSHOP OF PIETRO LORENZETTI (ACTIVE SIENA C.1306-1345)
WORKSHOP OF PIETRO LORENZETTI (ACTIVE SIENA C.1306-1345)
WORKSHOP OF PIETRO LORENZETTI (ACTIVE SIENA C.1306-1345)
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PROPERTY OF A GENTLEMAN
WORKSHOP OF PIETRO LORENZETTI (ACTIVE SIENA C.1306-1345)

The Crucifixion with the Virgin, Mary Magdalene, John the Evangelist and a Franciscan Saint

细节
WORKSHOP OF PIETRO LORENZETTI (ACTIVE SIENA C.1306-1345)
The Crucifixion with the Virgin, Mary Magdalene, John the Evangelist and a Franciscan Saint
tempera on gold ground panel, in its original engaged frame
16 1⁄8 x 10 ¼ in. (40.9 x 26 cm.)
with its original painted reverse
来源
Achillito Chiesa (1881-1951), Milan, by 1926; his sale, American Art Association, New York, 16 April 1926, lot 12, as 'Pietro Lorenzetti', when acquired for $5,600 by the following,
with Ercole Canessa, New York and Naples.
with Albrighi, Florence, 1946-1950.
with Frascione, Florence, 1950.
with Wildenstein and Co., New York, by 1974, where acquired by the following,
Private collection, New York, from whom acquired by the present owner in circa 2018.
出版
'Chiesa Paintings', Art News, XXIV, 24 April 1926, p. 11, no. 12.
E.T. Dewald, Pietro Lorenzetti, Cambridge Mass., 1930, p. 38.
R. Longhi, 'Una Crocefissione di Pietro Lorenzetti', Paragone, II, no. 23, November 1951, pp. 26-27, pl. 15, as 'Pietro Lorenzetti', dated 1330-1335.
M. Meiss, 'Nuovi dipinti e vecchi problemi', Rivista d'Arte, XXX, 1955, p. 135, under note 40.
B. Nicholson, 'Current and Forthcoming Exhibitions', The Burlington Magazine, CXVI, July 1974, p. 418.
T. Crombie, 'Round the Galleries: Highlights from Helicon', Apollo, C, August 1974, p. 156, fig. 1, as 'Pietro Lorenzetti'.
E. Skaug, 'Notes on the chronology of Ambrogio Lorenzetti and a new painting from his shop', Mitteilungen des Kunsthistorischen Institutes in Florenz, XX, 1976, p. 313, under note 40, as an anonymous pupil of Lorenzetti.
M. Seidel, 'Das Frühwerk von Pietro Lorenzetti', Städel-Jahrbuch, VIII, 1981, pp. 79-158.
G. Chelazzi Dini, in Il gotico a Siena, exhibition catalogue, Florence, 1982, p. 253, as 'Pietro Lorenzetti', dating to just before 1335.
M. Boskovits, 'Considerations on Pietro and Ambrogio Lorenzetti', Paragone, XXXVII, no. 439, September 1986, p. 5, under note 10, as 'Pietro Lorenzetti'.
M. Laclotte, 'Quelques tableautins de Pietro Lorenzetti', "Il se rendit en Italie": Etudes offertes à André Chastel, Rome, 1987, p. 31, as 'Pietro Lorenzetti', dating between 1330-1335?.
C. Volpe and M, Lucco, eds., Pietro Lorenzetti: L'opera Completa, Milan, 1989, pp. 209-210, no. A28, as an artist very close to Pietro Lorenzetti.
M.J. Frinta, Punched Decoration on late Medieval Panel and Miniature Painting, I, Prague, 1998, p. 114, no. Ca15, as 'close to Lorenzetti (Simone de Gheri?)'.
M. Boskovits, ed., The Alana Collection: Italian Paintings from the 13th to the 15th Century, Florence, 2009, pp. 167-171, no. 29, illustrated, with catalogue entry by A. Labriola.
展览
London, Helikon Gallery, Exhibition of Old Masters, June-September 1974, no. 1, as 'Pietro Lorenzetti'.

荣誉呈献

Maja Markovic
Maja Markovic Director, Head of Evening Sale

拍品专文


The workshop of Pietro Lorenzetti was one of the most important in Siena in the early fourteenth century. Pietro and his brother Ambrogio were responsible for many key commissions in the city, including the now lost frescoes that decorated the Ospedale della Scala.

This panel, which has been extensively published and the subject of much scholarly debate, would likely have been part of a diptych, and may have been painted circa 1330-35. A slightly later date however is suggested by the punchwork, with its intricate tooling that is complex in its design and highly skilled in its execution. Notwithstanding the exceptional tooling and the high quality of the figures, in particular the expressivity of the two figures kneeling at the base of the Cross, opinion has been divided on the panel’s attribution. Some scholars, including Millard Meiss, Carlo Volpe and Erling Skaug judged that it was by an artist in the circle of Pietro and Ambrogio Lorenzetti. It was most recently published in 2009 by Ada Labriola as by Pietro, a view that was also shared by Ernest DeWald, Roberto Longhi, Michel Laclotte, Giulietta Chelazzi Dini and Miklós Boskovits. The last of these published the panel in 1986, comparing it to the figure of Christ in both the fresco in the basilica of San Francesco in Siena, of circa 1330, and the Crucifixion with the Virgin, Saints John the Evangelist, Clare and Francis, made around 1320, now in the Harvard Art Museums, Boston. Gaudenz Freuler, who has inspected the painting recently in the original and to whom we are grateful, believes that Pietro himself may have had a hand in the execution of this work. Debate has also surrounded the identification of the figure to the lower right of the cross. Longhi, in 1951, suggested that it might represent Saint Monica, Saint Clare or Saint Scholastica, however it has since been proposed that she is Saint Elizabeth of Hungary.

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