Looking at Photographs 100 Pictures From the Collection of the Museum of Modern Art Pdf

Overview

This panel is i of two owned by the National Gallery of Art from one of the almost important monuments of Western painting: the towering, ii-sided altarpiece known as the Maestà by Duccio di Buoninsegna (Sienese, c. 1250/1255 - 1318/1319). The Maestà dominated the main altar in Siena's cathedral for nearly ii centuries. The National Gallery of Art is the only establishment in the U.s. to own two panels from this masterpiece. The Calling of the Apostles Peter and Andrew is the second panel from the Maestà in the Gallery'south collection.

Standing on either side of this Birth are 2 Hebrew prophets, whose writings—quoted on the scrolls they hold—are thought by Christians to foretell Jesus'due south birth. The Gallery'south Birth joined other scenes from Jesus's childhood (and other prophets) that unfolded along the forepart horizontal base of the altarpiece called the "predella" beneath a monumental epitome of the Madonna and Kid in majesty, enthroned in a crowd of saints and angels (see Reconstruction). The Virgin was Siena's patron saint, and devotion to her had a strong civic as well as religious dimension. Before information technology was installed in June 1311, Duccio's altarpiece was paraded triumphantly through the streets. Musicians were hired to accompany it, along with all the priests and monks of Siena. A procession of city officials and citizens was followed by women and children ringing bells. Shops were closed all day and alms were given to the poor.

The visibility and potency of the Maestà, forth with Duccio's importance as a teacher, assistance explain Siena's sustained taste for the gold and abstraction of the Byzantine style even as artists elsewhere in Tuscany adopted a more naturalistic arroyo. This Birth blends Byzantine elements with more contemporary and local trends. The Virgin'south recumbent pose and out-of-scale size recall icons of the Nascency, and like many icon painters Duccio has included two midwives who launder and tend the new infant and confirm his virgin nascence. The cave setting also comes via the Greek E, only the manger roof is like to ones constitute in the Gothic fine art of northern Europe. While the issue of gold and brilliant color is highly decorative, Duccio's elegant lines and flowing brushstrokes soften the austerity of the Byzantine mode.

Completed in less than three years, the Maestà was a huge undertaking, for which Duccio received 3,000 gold florins—more than any artist had always allowable. Although he must have had substantial help from his pupils and workshop administration, the design and execution indicates that Duccio exercised control over the whole project. Moved to a side chantry in 1506, the altarpiece was sawn apart in the 1770s and private panels afterward dispersed. This makes it impossible to decide its dimensions with certainty, but it must accept been about 15 feet wide, with the gables rise to as much equally 17 feet high. In all, there were probably more than than 70 individual scenes.

Entry

The Nativity is flanked by the total-length figures of the two prophets who foretell the birth of Christ [fig. i] [fig. one] Detail of Ezekiel, Duccio di Buoninsegna, The Nativity with the Prophets Isaiah and Ezekiel, 1308–1311, tempera on poplar, National Gallery of Art, Washington, Andrew Westward. Mellon Collection [fig. 2] [fig. two] Detail of Isaiah, Duccio di Buoninsegna, The Nativity with the Prophets Isaiah and Ezekiel, 1308–1311, tempera on poplar, National Gallery of Art, Washington, Andrew W. Mellon Drove . Isaiah, to the left, equally revealed by the text of his scroll and his leftward-turned gaze, is thematically linked to the previous scene of the forepart predella A horizontal band, cut from a single plank, below the main panels of an altarpiece. The appearance of the predella can exist seen as part of the development of the altarpiece from a single panel to a large, multilevel polyptych. The small-scale figures or scenes painted on the predella formed part of the integrated program of the altarpiece, providing a visual commentary on the major images to a higher place and at the same time physically raising the principal panels, thus improving their visibility. —Ronald Baxter, Grove Art © Oxford University Press , representing the Annunciation [fig. 3] [fig. 3] Duccio di Buoninsegna, The Annunciation, 1308–1311, tempera on console, The National Gallery, London. © National Gallery, London/Fine art Resource, NY , at present in the National Gallery of London. The iconography Terms that refer broadly to the written report of subjects and themes in works of art. Iconology, which is based on the results of iconography, is the more wide-ranging and comprehensive. One of the primary concerns of iconography is the discovery of symbolic and allegorical meanings in a work of art. —Willem F. Lash, Grove Art © Oxford University Printing of the Nativity follows the figurative tradition of Byzantine fine art, combining the scene with the subsidiary episodes of the Glad Tidings to the Shepherds and the First Bath of the Child. Mary is shown semirecumbent on a mattress inside the cave setting, into which a simple wooden hut with sloping roof is inserted. At the heart of the hut, in the background, we encounter the manger with the kid and two animals. In the foreground the episode of the First Bath occupies a central position, with the two midwives portrayed in slightly smaller proportions than the Madonna. [1] [1]
On the iconography of the scene, cf. Gertrud Schiller, Ikonographie der christlichen Kunst, 6 vols. (Gütersloh, 1966 – ​1990), 1:69 – ​98; and Günter Ristow, "Geburt Christi," in Reallexikon zur byzantinischen Kunst, ed. Klaus Wessel, 7 vols. (Stuttgart, 1971), ii:637 – ​662. The motif of the cave setting for the Nativity first appeared in the East in the sixth century, while the affiliation of this tradition with that usual in the Westward, in which the scene is placed in a hut, took place in Italian republic about 1300. The presence of the 2 animals side by side to the child lying in the manger is found in the earliest examples of the iconography, dating to the fourth century. The Church building fathers linked the paradigm of the ox and the donkey with a passage in the Prophet Habakkuk (iii:2): "O Lord, revive thy work in the midst of the years," a text that in Hebrew and in the Greek version of the Septuagint reads, "Y'all will reveal yourself between the ii animals." Christian exegetical literature later related these words to the ii Churches: the one that descended from the Jewish people, and the other that derives its origin from the gentiles. The motif of the First Bath of the Child, with an evident baptismal reference, was especially disseminated in Byzantine art on the basis of the counterfeit "Protoevangelium" of Saint James. An aspect peculiar to Byzantine fine art is the inclusion of the scene of the Glad Tidings to the Shepherds, constitute in representations of the Nascence starting in the tenth century. To the left nosotros meet Saint Joseph seated on a stone, sunk in meditation, while to the right appear the two shepherds conversing with one of the fourteen angels that throng the upper function of the scene.

The painting was the 2d of seven scenes ( [fig. iv] [fig. iv] Duccio di Buoninsegna, The Adoration of the Magi, 1308–1311, tempera on panel, Museo dell'Opera del Duomo, Siena. Image: Soprintendenza per le Belle Arti e il Paesaggio di Siena, Grosseto ed Arezzo [fig. 5] [fig. 5] Duccio di Buoninsegna, Christ among the Doctors, 1308–1311, tempera on panel, Museo dell'Opera del Duomo, Siena. Image: Soprintendenza per le Belle Arti due east il Paesaggio di Siena, Grosseto ed Arezzo [fig. 6] [fig. 6] Duccio di Buoninsegna, The Massacre of the Innocents, 1308–1311, tempera on panel, Museo dell'Opera del Duomo, Siena. Image: Soprintendenza per le Belle Arti e il Paesaggio di Siena, Grosseto ed Arezzo [fig. seven] [fig. seven] Duccio di Buoninsegna, The Presentation in the Temple with Salomon (or David?) and the Prophet Malachi, 1308–1311, tempera on panel, Museo dell'Opera del Duomo, Siena. Epitome: Soprintendenza per le Belle Arti due east il Paesaggio di Siena, Grosseto ed Arezzo [fig. 8] [fig. 8] Duccio di Buoninsegna, The Flight into Egypt with the Prophets Jeremiah and Hosea, 1308–1311, tempera on panel, Museo dell'Opera del Duomo, Siena. Prototype: Soprintendenza per le Belle Arti e il Paesaggio di Siena, Grosseto ed Arezzo ) interspersed with standing figures of prophets that formed the predella of the front side of the 2-sided altarpiece An epitome-bearing construction set on the rear role of the altar, abutting the back of the altarblock, or fix behind the altar in such a style as to be visually joined with the altar when viewed from a distance. It is too sometimes called a retable, post-obit the medieval term retrotabulum. The altarpiece was never officially prescribed by the Church, but information technology did perform a prescribed part alternatively carried out past a elementary inscription on the altarblock: to declare to which saint or mystery the altar was defended. In fact, the altarpiece did more than than simply identify the chantry; its form and content evoked the mystery or personage whose cult was celebrated at the altar. This original and lasting function influenced the many forms taken by the altarpiece throughout its history. —Alexander Nagel, Grove Art © Oxford University Printing placed over the high chantry in Siena Cathedral [fig. 9] [fig. 9] Reconstruction of the front of the predella of Duccio di Buoninsegna's Maestà: a. The Proclamation (fig. 3); b. The Nascence with the Prophets Isaiah and Ezekiel; c. The Adoration of the Magi (fig. 4); d. The Presentation in the Temple with Salomon (or David?) and the Prophet Malachi (fig. vii); e. The Massacre of the Innocents (fig. 6); f. The Flight into Egypt with the Prophets Jeremiah and Hosea (fig. 8); one thousand. Christ among the Doctors (fig. v)  (encounter also Reconstruction). For a discussion of the multipart complex of which this work has ever been recognized as an integral part, see the entry on The Calling of the Apostles Peter and Andrew .

Miklós Boskovits (1935–2011)

March 21, 2016

Inscription

left section, on the whorl of Isaiah: ECCE VIR / Become CONCI / PIET [et] PA / RIET FILIU[K] / [et] VOCABI / TUR NOM / EN EIUS / [E]MANUE[Fifty] (Behold a Virgin shall conceive and bear a son, and his proper name shall be called Immanuel; from Isaiah 7:14); middle section, on the ringlet of the announcing angel: A[nnunti]o / Vobis / Gaudiu[m] / Magnu[chiliad] (Behold, I bring you tidings of cracking joy; variant of Luke 2:ten); right department, on the coil of Ezekial: VIDI PORTA[Thou] / I[North] DOMO D[OMI]NI / CLAUSA[1000] / VIR / NO[N] TR[AN]SIBIT / P[ER] EA[M] DOM / IN[US] SOLUS / I[Due north]TRAT ET[?] / IT [?] P[ER] EA[M] (I saw a door in the house of the Lord which was closed and no man went through it. The Lord only enters and goes through information technology; variant of Ezekial 44:2)

Provenance

NGA 1937.ane.viii formed part of the front predella of Duccio's double-sided altarpiece the Maestà, which was in the course of execution by October 1308 and was placed on the high altar of the Cathedral of Siena on 30 June 1311;[1] the altarpiece was removed from the cathedral in 1506, first stored by the Cathedral authorities, and so later displayed on the wall of the left transept, close to the altar of Saint Sebastian, but probably past this time the predella and gable panels had already been separated from it;[two] the altarpiece was moved to the church of Sant'Ansano in 1777, where its 2 sides were separated and returned to the cathedral;[3] in 1798 the gables and viii panels of the predella were reported as existence kept in the sacristy of the cathedral, whereas the rest, including NGA 1937.1.8, must already accept been in private hands.[4] probably with Charles Fairfax Murray [1849-1919], London and Florence, in the early 1880s,[5] who seems to have been the seller, in 1884, to the Gemäldegalerie der Königliche Museen, Berlin; deaccessioned 1937[vi] and exchanged with (Duveen Brothers, Inc., London, New York, and Paris);[seven] purchased 26 April 1937 past The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[eight] gift 1937 to NGA.

Technical Summary

This is one of the few early on Italian panels in the collection that has not been cradled Attaching a woodent grid to the reverse of a panel to prevent the console's warping. . The wooden support is a two-member poplar panel [ane] [one]
The NGA scientific research section analyzed the wood using cross-sectional microscopy, and it was determined to exist poplar (run into report dated January 31, 1989, in NGA conservation files). of remarkable thickness (6 cm), with horizontal grain; engaged to this is a unproblematic gilt molding that demarcates the iii areas of the support to be painted. The console and moldings were prepared with a fine fabric followed by gesso A mixture of finely ground plaster and mucilage practical to woods panels to create a smooth painting surface. —Grove Art © Oxford Academy Printing . A thin, orangish bole was applied under the gilded areas. The ornamental border along the edges of the gilt ground The layer or layers used to prepare the back up to hold the paint. , the halos, and the contours of the figures of the prophets were incised in the preparation before painting. Mordant gilding is evident in the robes of the Virgin and of the angels. Infrared reflectography A photographic or digital image assay method which captures the absorption/emission characteristics of reflected infrared radiation. The assimilation of infrared wavelengths varies for different pigments, then the resultant image tin assist distinguish the pigments that have been used in the painting or underdrawing. reveals a simple underdrawing A drawing executed on a ground before paint is applied. . [2] [2]
Infrared reflectography was performed with a Hamamatsu c/thousand-03 Vidicon camera fitted with a lead sulphide tube and a Kodak Wratten 87A filter.

A photo taken in or soon before 1885 [3] [3]
Reproduced in Eduard Dobbert, "Duccio's Bild Die Geburt Christi in der Königlichen Gemälde-­Galerie zu Berlin," Jahrbuch der Preußischen Kunstsammlungen 6 (1885): 158 – ​159. suggests that the painting was subjected to a rather desperate restoration, of unspecified date but probably carried out earlier the acquisition for the Gemäldegalerie der Königliche Museen in Berlin, in club to integrate the abrasions A gradual loss of material on the surface. Information technology can exist caused by rubbing, wearing, or scraping against itself or another material. It may be a deteriorative process that occurs over time as a consequence of weathering or handling or it may be due to a deliberate attempt to smooth the material. and render the image more than pleasing past extensive retouching. The inscriptions were likewise reinforced. Helmut Ruhemann treated the painting in 1929; [4] [4]
On this treatment, meet Helmut Ruhemann, The Cleaning of Paintings: Problems and Potentialities (London, 1968), 41. The aforementioned restorer noted that on seeing the painting over again in 1952, it looked "finished" with "invisible retouchings." The testify of an old photograph in the photographic annal of the Kunsthistorisches Establish in Florence suggests that a partial cleaning of the panel may have occurred sometime before Ruhemann's. photographs fabricated afterwards this treatment show the worn areas of the painting. The figures of the prophets in particular are damaged by chafe and by small flaking Loss of pieces paint and/or ground. paint losses too as by sharp craquelure The network of cracks in the pigment and footing. Also sometimes referred to crackle pattern. . Dr. Max Friedlander "cleaned" the painting at some point betwixt 1929 and 1937. [five] [5]
A telegram dated Apr 6, 1937, recorded in the Duveen Brothers Records, accession number 960015, Enquiry Library, Getty Research Institute, Los Angeles: reel 92, box 237, folder 23, stated, "flick cleaned off several years ago by Dr. Friedlander." According to data in the William Suhr archives at the J. Paul Getty Museum, Los Angeles, William Suhr removed a varnish, inpainted Application of restoration paint to areas of lost original paint to visually integrate an area of loss with the color and pattern of the original, without covering whatsoever original paint. , and revarnished the painting. [6] [half-dozen]
William Suhr archives at the J. Paul Getty Museum, Los Angeles (notes in NGA conservation and curatorial files). This handling was probably accomplished in 1937, because a telegram dated April six, 1937, in Duveen Brothers Records, accession number 960015, Research Library, Getty Inquiry Found, Los Angeles: reel 92, box 237, folder 23, stated, "Absolutely cannot be shown its present state although no important parts missing however much small particular piece of work necessary go proper outcome," and another telegram dated May 7, 1937, stated, "Duccio marvelous perfectly exquisite color enchanting very happy with it far superior Benson Duccios." On the whole the painted surface, in spite of some abrasion, is fairly well preserved. Numerous small areas of inpainting affect the faces of the angels, the pilus and beard of Isaiah, and the face of the Virgin.

Bibliography

1885

Dobbert, Eduard. "Duccio'south Bild Dice Geburt Christi in der Königlichen Gemälde-Galerie zu Berlin." Jahrbuch der Preußischen Kunstsammlungen 6 (1885): 153-163.

1885

"Fragment von Duccios Dombilde." Kunstfreund i (1885): 75.

1885

Thode, Henry. Franz von Assisi und dice Anfänge der Kunst der Renaissance in Italien. Berlin, 1885: 75.

1890

Schubring, Paul. Moderner Cicerone, vol. 1, das Kaiser Friedrich-Museum, Berlin. Stuttgart [u.a.], 1890: 81, repro. 83.

1891

Meyer, Julius, Hugo von Tschudi, and Wilhelm von Bode. Beschreibendes Verzeichniss der Gemälde. Königliche Museen, Berlin . third ed. Berlin, 1891: 72, repro.

1893

Pératé, André. "Études sur la peinture Siennoise. Duccio, 1." Gazette des Beaux-Arts Southward. 3, five. nine (1893): 89.

1893

Pératé, André. "Études sur la peinture Siennoise. Duccio, 2." Gazette des Beaux-Arts S. three, v. 10 (1893): 178, 200.

1898

Lisini, Alessandro. "Notizie di Duccio pittore e della sua celebre ancona." Bollettino senese di storia paria 5 (1898): 25, 27.

1909

Posse, Hans. Die Gemäldegalerie des Kaiser-Friedrich-Museums: vollständiger beschreibender Katalog mit Abbildungen sämtlicher Gemälde, vol. 1, die romanischen Länder. Berlin, 1909: fifteen (repro.), 16.

1911

Lusini, Vittorio. Il Duomo di Siena. Siena, 1911: 128, 148 north. 115.

1913

Posse, Hans, ed. Die Gemäldegalerie des Kaiser-Friedrich-Museums: vollständiger beschreibender Katalog mit Abbildungen sämtlicher Gemälde. Berlin, 1913: 15 (repro.), 16.

1916

Millet, Gabriel. Recherches sur l'iconographie de l'évangile aux XIVe, XVe et XVIe siècles, d'après les monuments de Mistra, de la Macédoine et du Mont-Athos. Bibliothèque des Écoles françaises d'Athènes et de Rome ... fasc 109. Paris, 1916: 110.

1918

Péladan, Joséphin. "Au Louvre. Les maitres qui manquent." Les Arts 169 (1918): repro. 6.

1919

Schottmüller, Frieda. "Italienische Schulen." In Das Kaiser Friedrich Museum. Führer durch die Staatlichen Museen zu Berlin. 4th ed. Berlin, 1919: 146 (repro.). 147-148.

1930

Staatliche Museen Berlin. Die Gemäldegalerie, vol. 2, die italienischen Meister thirteen. bis 15. Jahrhundert. Berlin, 1930: repro. 44.

1934

Kunze, Irene. Führer durch die Gemäldegalerie: die italienischen Meister. Berlin, 1934: 4.

1937

Cecchi, Emilio. Giotto. Milan, 1937: 117-122.

1941

Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. vi, repro.

1941

National Gallery of Art. Volume of Illustrations. Washington, 1941: 98 (repro.), 233.

1941

Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 59, no. 8.

1942

Volume of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 100.

1946

Carli, Enzo. Vetrata duccesca. Florence, 1946: 39.

1949

Paintings and Sculpture from the Mellon Collection. National Gallery of Fine art, Washington, 1949 (reprinted 1953 and 1958): four, repro.

1951

Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: sixteen.

1957

Shapley, Fern Rusk. Comparisons in Fine art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 5.

1959

Shapley, Fern Rusk. Early on Italian Painting in the National Gallery of Art. Washington, D.C., 1959 (Booklet Number Three in Ten Schools of Painting in the National Gallery of Fine art, Washington, D.C.): 14, color repro.

1960

The National Gallery of Fine art and Its Collections. Foreword by Perry B. Cott and notes past Otto Stelzer. National Gallery of Fine art, Washington (undated, 1960s): ten, as Nativity with 2 Prophets.

1962

Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 10, color repro.

1963

Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 297, repro.

1965

Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 44.

1966

Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. two vols. New York, 1966: 1:four, color repro.

1968

National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 37, repro.

1968

Ruhemann, Helmut. The Cleaning of Paintings: Problems and Potentialities. London, 1968: 41.

1973

Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 36 repro., 37.

1974

Pesenti, Franco Renzo. "Dismembered works of fine art - Italian painting." In An Illustrated Inventory of Famous Dismembered Works of Art: European Painting. Paris, 1974: 20, 26-27, repro.

1975

European Paintings: An Illustrated Summary Catalogue. National Gallery of Fine art, Washington, 1975: 112, repro.

1979

Amico, Leonard N. "Reconstructing an Early Fourteenth Century Pentaptych by Ugolino di Nerio: St. Catherine Finds Her Niche." Bulletin Krannert Art Museum five, no. 1 (1979): 13, repro. 14.

1979

Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:168-172; 2:pl. 119.

1984

Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 67, no. eight, colour repro.

1985

European Paintings: An Illustrated Catalogue. National Gallery of Fine art, Washington, 1985: 136, repro.

1992

National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 11, repro.

1996

Bock, Henning, and Rainald Grosshans, eds. Gemäldegalerie Berlin: Gesamtverzeichnis. Berlin, 1996: 601.

1996

Gordon, Dillian. "Duccio (di Buoninsegna)." In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: ix:344.

1997

Shaw-Eagle, Joanna. "Christ's Nascence Gave Nativity to Astounding Images: Gallery Glitters with holy Masterpieces." Washington Times (21 Dec 1997): D5.

1998

Apostolos-Cappadona, Diane. "Virgin/Virginity." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene Due east. Roberts. ii vols. Chicago, 1998: two:906.

2004

Hand, John Oliver. National Gallery of Art: Primary Paintings from the Collection. Washington and New York, 2004: 2-iii, 6-seven, no. 2, color repros.

2006

Hartt, Frederick, and David G. Wilkins. History of Italian Renaissance Fine art: Painting, Sculpture, Compages. sixth ed. Upper Saddle River, 2006: 105-107, colour figs. iv.three, iv.eight.

2010

Giorgi, Rosa. "L'iconografia della Natività nella tradizione e la novità del Lippi." In Filippo Lippi: La Natività. Exh. true cat. Museo Diocesano, Milan, 2010: 55-57, color figs. 2, 3.

2011

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2013

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2013

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2016

Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 81-102, color repro.

2016

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Related Content

Altarpiece Reconstruction

Click on whatever panel in the altarpiece reconstruction below to meet an enlarged version of the image. Color reproductions in the reconstruction indicate panels in the National Gallery of Fine art collection.

Reconstruction of the front end of the predella of Duccio di Buoninsegna's Maestà:

a. The Announcement (Entry fig. 3)
b. The Nascency with the Prophets Isaiah and Ezekiel
c. The Adoration of the Magi (Entry fig. 4)
d. The Presentation in the Temple with Salomon (or David?) and the Prophet Malachi (Entry fig. 7)
e. The Massacre of the Innocents (Entry fig. 6)
f. The Flight into Egypt with the Prophets Jeremiah and Hosea (Entry fig. 8)
g. Christ among the Doctors (Entry fig. v)

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Source: https://www.nga.gov/collection/art-object-page.10.html

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