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Madonna and Child

Antoniazzo Romano (Antonio di Benedetto Aquilio) (Italian, Roman, active by 1452–died by 1512)

Medium:
Tempera on wood, gold ground
Dimensions:
Overall 14 7/8 x 10 3/4 in. (37.8 x 27.3 cm); painted surface 14 1/8 x 10 1/8 in. (35.9 x 25.7 cm)
Classification:
Paintings
Credit Line:
Bequest of George Blumenthal, 1941
Accession Number:
41.190.9
  • Catalogue Entry

    Forthcoming

  • Provenance

    ?[Luigi Grassi, Florence, in or before 1911]; George Blumenthal, New York (by 1911–d. 1941; cat., vol. 1, 1926, pl. XXXV).

  • Exhibition History

    Baltimore. Walters Art Gallery. "Loan Exhibition," 1935, no. 27 (lent by George Blumenthal).

    Pasadena Art Institute. November 20, 1947–January 20, 1948, no catalogue [probably the second venue of the exhibition "Italian Art: Loss and Survival" from the Virginia Museum of Fine Arts].

  • References

    F. Mason Perkins. "Tre dipinti di Antoniazzo Romano." Rassegna d'arte umbra 2 (1911), pp. 36–37, ill., attributes this painting to Antoniazzo Romano.

    J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. "Umbrian and Sienese Masters of the Fifteenth Century." A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century. 5, London, 1914, pp. 280–81 n. 1.

    Stella Rubinstein-Bloch. "Paintings—Early Schools." Catalogue of the Collection of George and Florence Blumenthal. 1, Paris, 1926, unpaginated, pl. XXXV.

    Roberto Longhi. "In favore di Antoniazzo Romano." Vita artistica 2 (November–December 1927), pp. 232–33, pl. 2, as by Antoniazzo.

    Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 27.

    Raimond van Marle. "The Renaissance Painters of Central and Southern Italy." The Development of the Italian Schools of Painting. 15, The Hague, 1934, p. 258 n. 5, dates it about 1480; compares it with a Madonna and Child in the Percy Strauss collection, New York [now Museum of Fine Arts, Houston], and comments on the influence of Benozzo Gozzoli and Melozzo da Forlì.

    Francesco Negri Arnoldi. "Madonne giovanili di Antoniazzo Romano." Commentari 15 (July–December 1964), pp. 210, 212 n. 23, considers it an early work and dates it about 1476, based on a Madonna and Child by the artist in the church of S. Maria del Bonaiuto, Rome.

    Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 16.

    Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 11, 347, 608.

    Gisela Doerk Noehles. "Antoniazzo Romano: Studien zur Quattrocentomalerei in Rom." PhD diss., Westfälischen Wilhelms-Universität zu Münster, 1973, pp. 65–67, 187, 317–18, no. 33, figs. 29A, 32, compares it to the Madonna and Child in the Gallery in Perugia (no. 109) and the altarpiece at Fondi; dates it about 1480, before Antoniazzo was influenced by the frescoes in the Sistine Chapel.

    Federico Zeri. Italian Paintings in the Walters Art Gallery. Baltimore, 1976, vol. 1, p. 165.

    Gregory Hedberg. "Antoniazzo Romano and His School." PhD diss., New York University, 1980, vol. 1, p. 171, no. 23; vol. 2, fig. 25, dates it ca. 1475–80 and comments that the condition of the picture "prevents a sure attribution".

    Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, p. 3, pl. 61, date this panel around 1480–85.

    Anna Cavallaro. Antoniazzo Romano e gli Antoniazzeschi: una generazione di pittori nella Roma del Quattrocento. Udine, 1992, pp. 187, 223, no. 10, ill. p. 311, notes that it is the prototype for a Madonna and Child in the Burnath collection, Florence, and also for the Madonna and Child in the Walters Art Gallery, Baltimore; discusses the picture's physical state.

    Antonio Paolucci. Antoniazzo Romano: catalogo completo dei dipinti. Florence, 1992, p. 52, no. 10, ill., dates it to the late 1470s and sees its linearity and formal lucidity as related to Tuscan art, particularly that of Ghirlandaio.

    Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 171–72, classifies the punch marks appearing in this painting.



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