On the much-debated problem of the so-called “Parente di [i.e., relative of] Giotto,” a painter to whom—according to some art historians—the great master delegated much of the actual execution of very important commissions during the second and third decade of the fourteenth century, cf. (Milan, 1984), 1:44, the latter of whom considered the crucifix an autograph painting by Giotto. 1] Artificial-colored hyperspectral infrared reflectogram, Giotto, Maria Clelia Galassi and Elizabeth Walmsley, “Painting Technique in the Late Works of Giotto,” in, Italian Paintings 13th and 14th Centuries. See Martin Davies, The Earlier Italian Schools, National Gallery Catalogues (London, 1951), 181; and note 8 above. 26; Lionello Venturi, Italian Paintings in America, trans. Giorgio Bonsanti, “La bottega di Giotto,” in Giotto: Bilancio critico di sessant’anni di studi e ricerche, ed. 7, The Biadaiolo Illuminator, Master of the Dominican Effigies (New York, 1957), 100–101. Luciano Bellosi and Aldo Rossi (Turin, 1986), 119. The appearance of the multipart altarpieceAltarpiece An image-bearing structure set on the rear part of the altar, abutting the back of the altarblock, or set behind the altar in such a way as to be visually joined with the altar when viewed from a distance. (Berlin, 1912), 1:36. [36]  [36]Cf. This latter chapel was founded, according to the inscription on its external wall, in 1328; see Andrew Ladis, Taddeo Gaddi: Critical Reappraisal and Catalogue Raisonné (Columbia, MO, 1982), 88. a summary of the contributions of Giorgio Bonsanti and Miklós Boskovits, in Giotto: Bilancio critico di sessant’anni di studi e ricerche, ed. . (Florence, 1961–1984), 4:6; Alberto Busignani, Giotto (Florence, 1993), 206, 307; Julian Gardner, “Giotto in America (and Elsewhere),” in Italian Panel Painting of the Duecento and Trecento, ed. The features of the works belonging to this phase are in any case different from those expressed in the Washington Madonna. GIOTTO-MADONNA AND CHILD.14" X 11" ART PRINT.. The color of this article of clothing may vary, but at least in central Italy within the last decades of the thirteenth and first decades of the fourteenth century, it is usually red, as in the Washington Madonna. (Washington, DC, 1979), 1:219–221; Cesare Brandi, Giotto (Milan, 1983), 147; Laura Cavazzini, Giotto (Florence, 1996), 33. See note 6 above. Tracing based on Magnolia Scudieri, ed., Lacroce giottesca di San Felice in Piazza: Storia e restauro (Venice, 1992), 146. See, respectively, Richard Offner and Miklós Boskovits, A Critical and Historical Corpus of Flor­entine Painting: The Fourteenth Century, sec. making their common origin unlikely. Whatever the case, the fact remains that the Maestà comes from Ognissanti, as does the Dormitio Virginis now in the Gemäldegalerie in Berlin (no. Hayden B. J. Maginnis, Painting in the Age of Giotto: A Historical Reevaluation (University Park, PA, 1997), 131, seemed to prefer a slightly later dating. See Peter Murray, An Index of Attributions Made in Tuscan Sources before Vasari (Florence, 1959), 79–89; and Michael Viktor Schwarz and Pia Theis, Giottus pictor, vol. Cf. The tendency now is to accept the hypothesis of Martin Davies, who identified the fragments of this polyptych with the stories of Christ divided among the museums of Boston, London, Munich, New York, and the Berenson Library at Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, Florence. Michael Viktor Schwarz and Pia Theis, Giottus pictor, vol. See Erling S. Skaug, Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting with Particular Consideration to Florence, c. 1330–1430, 2 vols. Gilding laid on a green underpaint foundation has also been observed elsewhere in Giotto’s oeuvre, in particular in his stories of Christ, now divided among the Isabella Stewart Gardner Museum in Boston (Presentation of Jesus in the Temple), the Berenson Library at Villa I Tatti, The Harvard University Center for Renaissance Studies in Florence (Entombment), the National Gallery in London (Descent of the Holy Spirit), the Alte Pinakothek in Munich (Last Supper, Crucifixion, Descent to Limbo), and the Metropolitan Museum of Art in New York (Adoration of the Magi). Remigius Bäumer and Leo Scheffczyk, 6 vols. 28 in the Pinacoteca Nazionale in Siena attributed to Duccio di Buoninsegna (Sienese, c. 1250/1255 - 1318/1319) himself, and polyptych no. Stay up to date about our exhibitions, news, programs, and special offers. Duccio di Buoninsegna (Sienese, c. 1250/1255 - 1318/1319), Master of Città di Castello (Italian, active c. 1290 - 1320), Bernardo Daddi (active by 1320, died probably 1348), Simone Martini (Sienese, active from 1315; died 1344), Pietro Lorenzetti (Sienese, active 1306 - 1345). [20]  [20]Frank Jewett Mather, “Two Attributions to Giotto,” Art Studies 3 (1925): 25–27. Closed. In the areas of flesh, the artist applied a green underpaintUnderpainting An initial layer of paint applied to a ground that begins to define shapes and values.

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