The painting belongs to an uncommon genre of devotional icons painted on both sides. It is a simplified version of the portable diptych in which the Madonna and Child was usually depicted on the obverse, and Christ on the Cross on the reverse. This panel presents an isolated image of Christ hanging on the cross, unattended by the usual figures of mourners, soldiers, or onlookers who allude to the event of the Crucifixion.
Overview
Entry
The painting belongs to an uncommon genre of Byzantine origin of devotional icons painted on both sides.
At the time of the panel’s first emergence in Florence in the 1920s, art historians expressed rather disparate views about it. Roberto Longhi, in a manuscript expertise probably dating to the years 1925 – 1930,
The date of the painting, however, has given rise to considerable divergence of opinion. It was thought to have been executed by Memmi as early as c. 1330–1340 in the first catalog of the Gallery (1941).
Some help in establishing the panel’s date can, however, be derived from an analysis of its punched decoration, undertaken by Mojmir S. Frinta (1998).
It may be added that the composition of the Madonna of Humility evidently enjoyed considerable success. The artist replicated it many times.
Miklós Boskovits (1935–2011)
March 21, 2016
Provenance
Private collection, Italy, c. 1920.[1] (Alessandro Contini, Rome [from 1930, Count Alessandro Contini Bonacossi]); sold October 1927 to Samuel H. Kress [1863-1955], New York;[2] transferred 1929 to the Samuel H. Kress Foundation, New York; gift 1939 to NGA.
Technical Summary
The support (contrary to Shapley 1966, 1979) is a single piece of wood, with a vertical grain and about 1 cm thick, painted on both sides.
The painting was executed on the usual
Bibliography
- 1936
- Meiss, Millard. "The Madonna of Humility." The Art Bulletin 18 (1936): 437, n. 8.
- 1941
- Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 133-134, no. 131, as by Lippo Memmi (?).
- 1941
- Richter, George Martin. "The New National Gallery in Washington." The Burlington Magazine for Connoisseurs 78 (June 1941): 177.
- 1943
- Pope-Hennessy, John. "A Madonna by Andrea Vanni." The Burlington Magazine for Connoisseurs 83, no. 484 (1943): 177.
- 1946
- Meiss, Millard. "Italian Primitives at Konopištĕ." The Art Bulletin 28 (1946): 6.
- 1951
- Meiss, Millard. Painting in Florence and Siena after the Black Death. Princeton, 1951: 22-23, n. 34, 134.
- 1966
- Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 66-67, fig. 174.
- 1968
- Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:8.
- 1969
- Os, Hendrik W. van. Marias Demut und Verherrlichung in der sienesischen Malerei: 1300-1450. The Hague, 1969: 18, 120, 187, pl. 10b.
- 1971
- Os, Hendrik W. van. "Andrea di Bartolo’s Assumption of the Virgin." Arts in Virginia 2 (1971): 5.
- 1972
- Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 6, 228, 346, 645.
- 1974
- Os, Hendrik W. van. "Andrea di Bartolo’s Madonna of Humility." M: A Quarterly Review of the Montreal Museum of Fine Arts 6, no. 3 (1974): 21, 25.
- 1979
- Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:3-4; 2:pl. 1a.
- 1982
- Il gotico a Siena: miniature, pitture, oreficerie, oggetti d’arte. Exh. cat. Palazzo Pubblico, Siena. Florence, 1982: 292.
- 1983
- Kasten, Eberhard. "Andrea di Bartolo." In Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker. Edited by Günter Meissner. 3 vols. Leipzig, 1983-1990: 2(1986):976.
- 1983
- L’Art gothique siennois: enluminure, peinture, orfèvrerie, sculpture. Exh. cat. Musée du Petit Palais, Avignon. Florence, 1983: 274.
- 1984
- Gilbert, Creighton E. "Tuscan Observants and Painters in Venice, ca. 1400." in Interpretazioni Veneziane: studi di storia dell’arte in onore di Michelangelo Muraro. Edited by David Rosand. Venice, 1984: 113 (repro.), 114-116.
- 1986
- Maderna, Valentina, ed. Il polittico di Andrea di Bartolo a Brera Restaurato. Exh. cat. Pinacoteca di Brera, Milan. Florence, 1986: 10-11, 17.
- 1987
- Freuler, Gaudenz. "Andrea di Bartolo, Fra Tommaso d’Antonio Cafarini, and Sienese Dominicans in Venice." The Art Bulletin 69 (1987): 577.
- 1989
- Os, Hendrik W. van, J. R. J. van Asperen de Boer, C. E. de Jong-Janssen, and Charlotte Wiefhoff, eds. The Early Sienese Paintings in Holland. Translated by Michael Hoyle. Florence, 1989: 29, 32.
- 1992
- Kasten, Eberhard. "Andrea di Bartolo." In Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker. Edited by Günter Meissner. 87+ vols. Munich and Leipzig, 1992+: 3(1992):514.
- 1998
- Frinta, Mojmír S. Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998: 44, 48, 224, 230, 351, 479.
- 1999
- Mannini, Maria Pia, ed. Da Bernardo Daddi a Giorgio Vasari. Exh. cat. Galleria Moretti, 26 September 1999. Florence, 1999: 56.
- 2005
- Schmidt, Victor M. Painted Piety: Panel Paintings for Personal Devotion in Tuscany, 1250-1400. Florence, 2005: 222-223, 265 n. 82.
- 2009
- Bellosi, Luciano, et al., eds. La collezione Salini: dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV. 4 vols. Florence, 2009, 2015: 1(2009):250, 252.
- 2016
- Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 7-13, color repro.
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