Nerio: Saint Anne and the Virgin
| Français | Introduction
by Laurence B. Kanter
| 5 | 6
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
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
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
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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