. the panel during a restoration treatment in 1953. Bernardo Bitti was a painter, but also a Jesuit, who traveled to Lima as part of the order’s evangelization efforts. In particular, the articulation of forms in the latter, with zones of color almost geometrical in regularity, and their modeling with energetic brushstrokes and sudden flashes of white highlights suggest that they were executed within the last decade of the thirteenth century. 1] [fig. Cf. 1604 in the Musei Civici in Padua and with the Madonna (no. Francesca Flores d’Arcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 144; Grgo Gamulin, The Painted Crucifixes in Croatia (Zagreb, 1983), 120 and pl. (Washington, DC, 1979), 1:328, mentioned that Mario Modestini “cradled, cleaned and restored” the painting in 1953.
Dimensions: 30 x 28 x 5 cm.
” (above all in the greater solidity of the Paduan Madonna .
Cf. . Mauro Lucco, 2 vols. Sandro Botticelli Altarpiece of San Marco Coronation Virgin XIXth engraving Altarpiece of San Marco or The Coronation of the Virgin engraving on Chinese paper, mounted on paper, XIXth century. Mauro Lucco, 2 vols. Davide Banzato and Franca Pellegrini (Rome, 1989), 77–79; Francesca Flores d’Arcais, “Venezia,” in La Pittura nel Veneto: Il Trecento, ed. The painting, executed c. 1320 according to the present writer (see Boskovits 2009), is similar in iconography to the Coronation in Washington, but the composition, adjusted to the oblong shape of the frescoed space, is densely thronged with angels to the sides of the throne. ), in Fra Ludovico da Pietralunga and Pietro Scarpellini, Descrizione della Basilica di S. Francesco e di altri Santuari di Assisi (Treviso, 1982), 344; Robert Gibbs, L’occhio di Tomaso: Sulla formazione di Tomaso da Modena (Treviso, 1981), 37; Robert Gibbs, “A Fresco by Marco or Paolo Veneziano in Treviso,” Studi trevisani 1 (1984): 27–29, 30 n. 7; Robert Gibbs, Tomaso da Modena: Painting in Emilia and the March of Treviso, 1340–1380 (Cambridge, 1989), 29; Robert Gibbs, “Master of the Washington Coronation,” in The Dictionary of Art, ed. 1, Le vetrate dell’Umbria (Rome, 1973), 136; Luciano Gargan, Cultura e arte nel Veneto al tempo del Petrarca (Padua, 1978), 58; Hans Belting, “Introduzione,” in Il medio oriente e l’occidente nell’arte del XIII secolo, Atti del XXIV congresso internazionale di storia dell’arte, September 10–18, 1979, ed. Francesca Flores d’Arcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 118; Viktorija Markova, Italija: Sobranie živopisi, vol. Daniele Benati (Milan, 1995), 77–78. 203–204, published the six panels in question, with busts of apostles; he attributed them to a Master of Caorle. The Coronation of the Virgin in Washington originally must have formed part of a larger complex. Mauro Lucco, 2 vols. Davide Banzato and Franca Pellegrini (Rome, 1989), 77–79. Very similar to the composition of the present panel is the embroidered antependium from the cathedral of Krk (Veglia) in Croatia, now in the Victoria and Albert Museum in London (cf. 1, VIII–XVI vekov (Moscow, 2002), 43; Andrea De Marchi, “Peintre vénitien vers 1320,” in Splendeurs de la peinture italienne, 1250–1510 (Paris, 2005), 26–28; Andrea De Marchi, “Polyptyques vénitiens: Anamnèse d’une identité méconnue,” in Autour de Lorenzo Veneziano: Fragments de polyptyques vénitiens du XIVe siècle, ed. Richard Offner, A fresco in the church of Santi Fermo e Rustico in Verona representing the Coronation of the Virgin must date several years before 1324. Jane Turner, 34 vols. Cf.
54 in the Bibliotheque Nationale in Paris. )overall: 108.3 × 79 × 1.5 cm (42 5/8 × 31 1/8 × 9/16 in. West Building Following its late nineteenth-century attribution—by whom remains unclear—to Caterino Veneziano (in the caption of the nineteenth-century photograph cited in Technical Summary note 3), Raimond van Marle (1924) cited the Coronation as an anonymous work of “gothico-byzantine style.” Evelyn Sandberg-Vavalà in 1930 expressed the view that “it is highly feasible to attribute it to Maestro Paolo himself,” and in the following year Giuseppe Fiocco (1930–1931) unhesitatingly confirmed this attribution. Francesca Flores d’Arcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 118; Viktorija Markova, Italija: Sobranie živopisi, vol. The same scholar (1966) further explained that it was Muraro who had convinced him in the course of a conversation that the painting in the National Gallery of Art should be excluded from Paolo’s catalog. Agnew and Sons, Ltd., London) and (Rudolf Heinemann, New York); Agnew share sold to (Rudolf Heinemann, New York); (M. Knoedler and Co., New York);[3] purchased February 1952 as by Paolo Veneziano by the Samuel H. Kress Foundation, New York;[4] gift 1952 to NGA. . 880; negative now with Osvaldo Böhm in Venice) is not listed in the catalogs of the photographer Carlo Naya (1816–1882) that I have been able to consult. See Francesca Flores d’Arcais, “Venezia,” in La Pittura nel Veneto: Il Trecento, ed. Another photo [fig. Mario Modestini thinned and cradledCradling Attaching a woodent grid to the reverse of a panel to prevent the panel's warping. Enrico Castelnuovo, 2 vols. Mauro Lucco, 2 vols. In my view, Marchi’s dating to the third decade of the fourteenth century should be pushed back to the second decade. Cf.
1153), or those of the Gospels (ms. 5) of the Monastery of Iviron on Mount Athos and of ms. grec. (New York, 1996), 20:784; Robert Gibbs, “Paolo Veneziano,” in The Dictionary of Art, ed. Only three paintings, all chronologically close to the panel dated 1324, are unanimously, or almost unanimously, recognized as his work.
From his earliest works (those datable between the second and early third decade of the century, such as the scenes from the life of the Virgin in the Musei Civici at Pesaro [14] [14]Cf. See Viktor Nikitič Lazarev, “Saggi sulla pittura veneziana dei secoli XIII–XIV: La maniera greca e il problema della scuola cretese,” Arte veneta 19 (1965): 24–26, 31 n. 62; Viktor Nikitič Lazarev, “Review of La pittura veneziana del Trecento by R. Pallucchini,” The Art Bulletin 48 (1966): 120–121. The x-radiographsX-radiography A photographic or digital image analysis method that visually records an object's ability to absorb or transmit x-rays. Arrange your visit in Florence, find prices and opening hours of the museum. Travi (1994) then categorically affirmed the common authorship of the frescoes and the group of paintings formerly combined with the Washington Coronation under the conventional name of the Master of Caorle. Read our full Open Access policy for images. 2) (see also Reconstruction). Apart from the paintings cited in notes 3–5 above, I think that Paolo’s initial phase also should include some paintings significantly attributed in the past to the Master of the National Museum in Belgrade (inv. Francesca Flores d’Arcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 142. 19–23, and in more recent years Alessandro Marchi, in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, ed. IV; Rodolfo Pallucchini, ed., La pittura veneziana del Trecento (Venice, 1964), 48 and fig 156. 2] Master of the Washington Coronation. Rodolfo Pallucchini (1964) published the panel, citing its provenance as the collection of the art historian Detlev von Hadeln (1878–1935) in Florence and its size as 26 × 90 cm. In my view, the Vodnjan panel belongs to the catalog of the Master of the Washington Coronation. The Coronation of the Virgin; b. The sale catalog linked this work with the circle of the painter of the Washington Coronation, and Carla Travi later inserted it in the catalog of the Master of Caorle (alternative name of the Master of the Washington Coronation). (Milan, 1986), 2:634; Mauro Lucco, “Paolo Veneziano,” in La Pittura in Italia: Il Duecento e il Trecento, ed.
Giuseppe Marchini, Corpus vitrearum Medii Aevi, vol. 1] Reconstruction of a dispersed polyptych by the Master of the Washington Coronation: a. The NGA scientific research department identified the wood (see report dated May 30, 1989, in NGA conservation files).