Also supporting the dating c. 1340 given in NGA 1965 and NGA 1985 were Frankfurter 1944, Shapley 1966 and 1979, and Mori 2002. (Rome, 1998), 9:158; Francesca Flores d’Arcais, “Paolo Veneziano e la pittura del Trecento in Adriatico,” in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, ed. a. Virgin Annunciate (Entry fig. The polyptych, with a provenance from the Venetian church of Santa Chiara, was considered until not many years ago as indicative of Paolo’s presumed return to or reuse of Byzantine figurative models in the final phase of his career. The Crucifixion is enacted in front of the crenellated wall of the city of Jerusalem. The altarpiece was never officially prescribed by the Church, but it did perform a prescribed function alternatively carried out by a simple inscription on the altarblock: to declare to which saint or mystery the altar was dedicated. NOTE: Christ is placed very high on the (New York, 1996), 24:32; Cristina Guar­nieri, “Per la restituzione di due croci perdute di Paolo Veneziano: Il leone marciano del Museo Correr e i dolenti della Galleria Sabauda,” in Medioevo adriatico: Circolazione di modelli, opere, maestri, ed. Rebecca W. Corrie, “Coppo di Marcovaldo’s Madonna del Bordone and the Meaning of the Bare-­Legged Christ Child in Siena and the East,” Gesta 35 (1996): 43–65. Francesca Flores d’Arcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 22; Giorgio Fossaluzza, ed., Da Paolo Veneziano a Canova: Capolavori dei musei veneti restaurati dalla Regione del Veneto 1984–2000 (Venice, 2000), 43; Angelo Loda, in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, ed. More from This Artist Similar Designs. the drawing (or disegno) Motifs of Western origin, on the other hand, also are present in the painting: Mary Magdalene embracing the Cross, or the swooning Madonna; cf. The Ecstasy of Saint Mary Magdalene (Entry fig. Conversely, a period of some length must have elapsed between the figure of the Baptist in the Worcester Museum and that in the polyptych in the church of San Martino at Chioggia in 1349: there, the Baptist, a very tall, aristocratic personage who turns with timorous discretion to the Christ child on his mother’s knee in the central panel, reveals characteristics rather different from those of the Worcester Baptist. The second set focuses on the Virgin Mary, with scenes of the Annunciation (see photograph) and a Concert of Angels, a Nativity, and the Resurrection. Following the tradition that he chose to be crucified upside down so as not to rival Christ, the … —Grove Art © Oxford University Press groundGround The layer or layers used to prepare the support to hold the paint. Van Dyck was heavily influenced by tragedy in his life and religion, as he was a Catholic. Marcus Mrass, “Kreuzigung Christi,” in Reallexikon zur byzantinischen Kunst, ed. the Venetian School. About this artwork. David’s work reveals the influence of the great Flemish masters such as Jan van Eyck, Rogier van der Weyden and Robert Campin, among others. In the process, he explores every aspect Panel B: a. Angel of the Annunciation (fig. of Other Venetian Renaissance Paintings. Francesca Flores d’Arcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 164. Therefore, the shutters—without the upper gables, which could (on the analogy of the model in Parma) have been some 20–30 cm high—would have measured c. 56 × 18 cm; see Rodolfo Pallucchini, ed., La pittura veneziana del Trecento (Venice, 1964), pls. (Paris, 1976), no. Paintings, Name: The Crucifixion (1565) Andrea De Marchi, “Una tavola nella Narodna Galleria di Ljubljana e una proposta per Marco di Paolo Veneziano,” in Gotika v Sloveniji: Nastajanje kulturnega prostora med Alpami, Panonijo in Jadranom; Akti mednarodnega simpozija, Ljubljana, Narodna galerija, ed. It is also a present reality - the very constructional Cross suggests the present day. dynamism to the scene and help to create a strong underlying structure. perfectly illustrated in the The Crucifixion. According to Francesca Flores D’Arcais (1994), the Washington Crucifixion was “forse vicina alla Pala marciana” (perhaps close to the altarpiece in San Marco), i.e., the Pala feriale executed in 1343–1345. Grgo Gamulin, “Alcune proposte per Maestro Paolo,” Emporium 139 (1964): 154; Rodolfo Pallucchini, “Considerazioni sulla mostra ‘Paolo Veneziano e la sua cerchia’ di Zagabria,” Arte veneta 21 (1967): 261; Filippo Pedrocco, Paolo Veneziano (Milan and Venice, 2003), 126–127. Entry. This is not simply a curiosity - it underlines the extent to As an object, the triptych may vary in size and material, but usually consists of a central panel flanked by wings (or shutters), which may be hinged; as a compositional form it is a tripartite structure, often with an emphasized central element. See Michel Laclotte and Esther Moench, Peinture italienne: Musée du Petit Palais, Avignon (Paris, 2005), no. 1480–1528) painted the Crucifixion as a panel for the Isenheim Altarpiece in the hospital chapel of St. Anthony’s monastery. 1, Catalogo delle opere dall’antico al Cinquecento, ed. Men in armour or in luxurious nailed to a cross, the other being raised. 3). but rather looking down on the scene around him. It is dated 1320 during the period of Italian Renaissance painting. [1] Achillito Chiesa, Milan, early twentieth century;[2] (Count Alessandro Contini Bonacossi, Florence); sold July 1934 to the Samuel H. Kress Foundation, New York;[3] gift 1939 to NGA. On the motif of the manicottolo and its significance as a clue for dating, see the perceptive remarks of Luciano Bellosi (1974), the first to evaluate its importance in art historical terms. Panel C: a. See Michel Laclotte and Esther Moench, Rodolfo Pallucchini (1956) doubted the reconstruction on chronological grounds, though subsequently (1964) he did not discount the possibility that the Crucifixion discussed here and the Madonna now in Avignon might have belonged to the same complex. [19]  [19]The polyptych, with a provenance from the Venetian church of Santa Chiara, was considered until not many years ago as indicative of Paolo’s presumed return to or reuse of Byzantine figurative models in the final phase of his career. Andrea De Marchi (2005) preferred a slightly later dating, towards the end of the 1340s. 3] Paolo Veneziano, Panels from the Wings of a Triptych, c. 1340/1345, tempera on panel, Worcester Art Museum (MA), Museum Purchase, 1927.19.
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