National Gallery of Canada / Musée des beaux-arts du Canada

Annual Bulletin 5, 1981-1982

Annual Index
Author & Subject

Ugolino di Nerio: Saint Anne and the Virgin

by Laurence B. Kanter

Pages  1  2  |  3  |  4  |  5  |  6  |  7


15 Stubblebine, op. cit., I, pp. 177-178, Il, figs 438-440, correctly dates the polyptych c. 1325 but mistakenly attributes it to an assistant of Ugolino. F .M. Perkins, "Alcune appunti sulla galleria delle belle arti di Siena," Rassegna d'arte senese, IV (I908), p. 48.

16 Stubblebine, op. cit., I, pp. 64-66, II, figs 131-136, as Segna in Duccio's shop, once dated 1310. The assistant active with Duccio on this altarpiece (doubtfully Segna) may also have lent his hand to the figures on the left side of the front of the Maestà.

17 Ibid., I, p. 160, Il, figs 383-384. C. Brandi, Duccio (Florence: 1951), p. 155, noted its relation to the Tadini Madonna. Coor-Achenbach, op. cit., p. 162 ff., attributed it to Ugolino.

18 Stubblebine, op. cit., I, pp. 164-168. See n. 2 above.

19 Ibid., I, pp. 180-181, II, figs 445-446, mistakenly believes the picture to be in excellent condition and attributes it to a follower of Ugolino on the basis of characteristics in fact due to extensive repainting (the Virgin's face to the left of a vertical line through her right eye, including all of her temple, cheek, jaw, and throat, most of her mouth, and part of her veil, is modern). Coor-Achenbach, loc. cit., demonstrated its attribution to Ugolino and its chronological proximity to the Santa Croce altarpiece.

20 Stubblebine, op. cit., I, pp. 172-173, Il, fig. 424.

21 Ibid., II, fig. 425. M. Skubiszewska, "O Kilku nieznanych wczesnych obrazach wloskich w zbiorach Poznansskich," Biuletyn Historii Sztuki, XXII (1961), pp. 26-28. B. Fredericksen, Catalogue of the Paintings in the J. Paul Getty Museum, n. p, (1972), p. 3.

22 Formerly F .D. Lycett Green collection, bought from Langton Douglas, 1932, and sold, Christie's, London, 16 March 1956, lot 106 (information generously given by Sir Ellis Waterhouse). Good photographs, including details, are preserved in the Richard Offner photographic archives at the Institute of Fine Arts in New York, with the manuscript notation on the verso: "Fake". Once again, this is a misunderstanding of the condition of the picture, whose association with the Poznan and Getty panels is certain. The fourth lateral panel from this altarpiece is still untraced, but its centre panel is probably to be identified with the Madonna and Child in the Boston Museum of Fine Arts (No. 16.65, 91 x 62 cm; Stubblebine, op. cit., I, p. 181, Il, fig. 447), which is the only other extant picture by Ugolino of exactly this date and of an appropriate size. The gold ground of the Boston panel, including the bole and gesso beneath, has been entirely renewed, so that any physical evidence of its possible association with the Getty and Poznan panels has been lost. The uniform truncation of the three lateral panels is possibly to be explained by the removal of pinnacles, but it is extremely rare to find a Sienese altarpiece in which pinnacle figures abut directly on round arched panels without intervening spandrels and cornice. The altarpiece in the Pinacoteca Nazionale di Siena (nos. 29-32; C. Brandi, La Regia Pinacoteca di Siena (Rome: 1933), pp. 169-170) by the Città di Castello Master is the only example known to this writer. However, a pinnacle panel by Ugolino representing the Crucifixion (formerly Stoclet collection, sold at Sotheby's, London, 24 March 1965, lot 9; Stubblebine, op. cit., I, p. 176, II, fig. 434) obviously once directly surmounted a panel with a rounded arch. The curvature of the arc at the bottom of this Crucifixion exactly matches that at the top of the Boston Madonna and varies from that of Ugolino's other extant Madonnas. This is suggestive but not conclusive evidence for a reconstruction.

23 Stubblebine, op. cit., I, p. 171, II, fig. 421.

24 See B. Klesse, Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts (Bern: 1967), pp. 68, 138, 258-259, for examples of the pattern on the Virgin's vest at Ottawa, particularly in works by the Lorenzetti.

25 Stubblebine, op. cit., I, pp. 168-170, Il, figs 415-418. G. De Nicola, "Ugolino e Simone a San Casciano, Val di Pesa," L'Arte, XIX (1916), pp. 13-18.

26 Stubblebine, op. cit., I, pp. 185-186, II, fig. 464. Coor-Achenbach, op. cit., p. 164.

27 The San Giovanni d'Asso triptych has recently been attributed to "Ugolino Lorenzetti" (Stubblebine, loc. cit.), who is sometimes identified with the Ovile Master. That painter's mannerisms are derived from the late works of Ugolino, as his name is intended to suggest. The San Giovanni d'Asso triptych, however, is not by him. It is executed in a radically different technique, one fully consonant with Ugolino's San Casciano Madonna, and it employs none of the small set of tooled punches that appears in every work by "Ugolino Lorenzetti." Its punches do appear elsewhere among Ugolino's works.

28 The pose of the young Virgin is closely imitated in a Madonna and Child by a follower of Segna di Bonaventura in the Museo d'arte sacra at Grosseto (Stubblebine, op. cit., II, fig. 507), and slightly less closely in a panel in the Vittorio Cini Collection, Venice, attributed to Niccolo di Segna (Ibid., fig. 480). Ultimately it derives from Duccio's Perugia Madonna (Ibid., fig. 44) which is very like the Brolio Madonna in composition. See also D. Shorr, The Christ Child in Devotional Images in Italian Painting (New York: 1954).

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