ÉCOLE VÉNITIENNE VERS 1320 - photo 1
ÉCOLE VÉNITIENNE VERS 1320 - photo 2
ÉCOLE VÉNITIENNE VERS 1320 - photo 3

ÉCOLE VÉNITIENNE VERS 1320

Lot 114
18.05.2022 14:30UTC +01:00
Classic
Sold
€ 214 200
AuctioneerCHRISTIE'S
Event locationFrance, Paris
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Archive
ID 761490
Lot 114 | ÉCOLE VÉNITIENNE VERS 1320
Estimate value
€ 120 000 – 180 000
ÉCOLE VÉNITIENNE VERS 1320Vierge à l'Enfant avec deux angestempera et huile sur panneau et fond d'or, dans un cadre intégral32 x 22 cm (12 1⁄2 x 8 1⁄2 in.) Provenance Collection E. Christopher Norris (1907-1987), Londres, Grande-Bretagne, avant 1940.Agnew's, Londres, Grande-Bretagne, 1952 (comme 'école siennoise du début du XIVe siècle').Collection Gladys, Lady Robertson (1886-1977), Londres, Grande-Bretagne, de 1953 jusqu'en 1977. Galerie Sankt-Lukas, Vienne, Autriche, 1977 (comme 'école siennoise, XIV siècle'). Collection particulière, Vienne, Autriche, 1977.G. Sarti Antiques Ltd, Londres, Grande-Bretagne, 2005.Collection du Docteur André Convert (1931-2021), région Rhône-Alpes, France. Literature G. Sarti, Splendeurs de la peinture italienne 1250-1510, Paris, 2005, VI, pp. 24-31 (comme 'école vénitienne vers 1320'), reproduit en couleurs p. 25. Exhibited Prêt au Fogg Art Museum, Cambridge, États-Unis, 22 juillet 1940-12 décembre 1945 (inv. 534.1940) (comme 'italien, XIIe siècle').Prêt au Diözesanmuseum, Vienne, Autriche, 2002-2003. Post lot text VENITIAN SCHOOL AROUND 1320, VIRGIN AND CHILD WITH TWO ANGELS, TEMPERA AND OIL ON PANEL AND GOLD GROUND, IN AN INTEGRAL FRAMEThe Madonna tenderly embracing the Christ Child is an iconographic theme often referred to as the Glykophilousa, ‘Madonna of loving-kindness’. It was very popular in the Byzantine world of the 13th century. In the present panel, the child's movements are more passionate than one would usually expected; he throws himself against his mother to embrace her, his arms open, standing on tiptoes. In comparison the Madonna is all tenderness, gazing into the distance as if to indicate the tragic presentiment of her son's death. The Byzantine influence is immediately evident in this work. Various famous Marian icons may serve as models for the composition, such as The Mellon Madonna and The Kahn Madonna, both in the collection of the National Gallery in Washington. These examples, which date from the thirteenth century, have similar discs in the corners of the panel, but they are both more strictly Byzantine than our panel. Here the draperies of the two main figures and the angels are lighter, quivering from the movement of Christ. The latter’s red cloak and transparent shirt fall in small flowing folds very different to the geometric folds of the Washington panels. The influence of Venetian artists such as Paolo Veneziano (1300-1365) or the Master of the Coronation of 1324 (active around 1324) can also be found in the slender shape of the Madonna's fingers. Venice experienced a rapid development in painting during the first two decades of the 14th century, which saw a renewal of the Byzantine models. The image of the standing Child, of which our painting is an important example, enjoyed a fleeting fashion in the Serenissima at this time; we find other examples in Paolo Veneziano's work, such as the one now in the Norton Simon Museum, California, though the iconography of the seated Christ remained more popular. One of the names associated with this period is that of the Master of the Triptych of St. Clare, whose name comes from an altarpiece from the convent of the Poor Clares in Trieste, now in the Civico Museo Sartorio in Trieste. A comparison of our panel with the central part of this altarpiece places the artist of the Madonna and Child with two angels in the orbit of the Master of the Triptych of Saint Clare. In both instances we find an attempt at fluidity and a speed of execution, which is the logical extension of the style of Venetian paintings from around 1290, and which lends a certain grace to the composition that is not always found in strictly Byzantine models. An important aspect of our painting is the incision of the gold ground. The two angels have nimbus with scrolls and clusters of three points introduced by the Master of the Coronation of 1324, perhaps identifiable with Marco Veneziano (active in the first third of the 14th century), Paolo's father, which would indicate a date of execution of circa 1320. In the nimbus of the Virgin, on the other hand, there is a type of incision that was widespread in central Italy before Cimabue's revival, namely graining (dot-shaped incisions) from the background of which emerge in reserve (in negative) a series of alternating three-lobed arcades with rich foliage. A similar nimbus decorates the background of a Virgin and Child in the centre of a triptych in the Thyssen-Bornemisza museum in Madrid that is attributed to the Master of the Triptych of St. Clare.
Applied technique:Oil on panel
Art style:Old Masters
Place of origin:Italy, Europe
Auction house category:Paintings
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