Currently not on view
Triptych: Madonna and Child, Annunciation, Flagellation/Crucifixion,
mid-13th century
Italian
y1958-126
The painter of the Madonna and Child in the central panel of this altarpiece (perhaps from Pisa) was highly conversant with Byzantine images and icons—traditions of the Greek world. The inclusion of the Flagellation scene alongside the usual Crucifixion and Annunciation suggests that a member of a penitential flagellant confraternity commissioned the work.
Information
Title
Triptych: Madonna and Child, Annunciation, Flagellation/Crucifixion
Dates
mid-13th century
Medium
Tempera on wood panel
Dimensions
42.2 × 52.2 × 5.5 cm (16 5/8 × 20 9/16 × 2 3/16 in.)
Credit Line
Gift of Mr. and Mrs. Jacob Reder in memory of their only son, Emmanuel Reder, who died in the invasion of Normandy in 1944, and an anonymous gift
Object Number
y1958-126
Place Made
Europe, Italy, Florence
Culture
Materials
Wladimir de Gruneisen, Paris (1868-after 1932); Brussels Art Market, late 1920s/early 1930s [1]; Jacob Reder, New York (from about 1940); 1958 gift to Princeton University Art Museum
[1] Estimate based on a photograph from Jean Malvaux in Brussels. See M. Boskovits, The Origins of Florentine Painting Vol. 1, trans. Robert Erich Wolf (Florence, 1993), p. 432.
- Osvald Siren, Toskanische Maler im XIII. jahrhundert, (Berlin: Cassirer, 1922)., pl. 119
- Wladimir de Grüneisen, "Madone du triptique inédit de Bonaventura Berlinghieri". in ed. Heinrich Glück, Studien zur Kunst des Ostens: Josef Strzygowski zum sechzigsten Geburtstage von seinen Freunden und Schülern, (Wien; Hellerau: Avalun-Verlag, 1923)., p. 204ff; pl. 24, 1
- Raimond van Marle, The development of the Italian schools of painting, (The Hague: M. Nijhoff, 1923-1938)., Vol. 1: p. 566, note for p. 352-358
- Richard Offner, "The Mostra del Tesoro di Firenze Sacra II", Burlington magazine 63, no. 367 (Oct., 1933): p. 166-178., p. 79-80
- Edward B. Garrison, "Post-War discoveries: early Italian paintings-IV: an unknown Madonna near Florence: the S. Primerana Master", Burlington magazine 89, no. 536 (1947): p. 299-303., p. 299-303; pl. I A
- E.B. Garrison, Italian Romanesque panel painting; an illustrated index, (Florence: L.S. Olschki, 1949)., no. 303
- "Recent Acquisitions," Record of the Art Museum, Princeton University 18, no. 1 (1959): p. 40-42., p. 40
- Hellmut Hager, Die Anfänge des italienischen Altarbildes: Untersuchungen zur Entstehungsgeschichte des toskanischen Hochaltarretabels, (München: A. Schroll, 1962)., fig 109; p. 88, 131
- B. B. Fredericksen and F. Zeri, Census of pre-nineteenth-century Italian paintings in North American collections, (Cambridge, MA: Harvard University Press, 1972)., p. 624
- Hans Belting, Das Bild und sein Publikum im Mittelalter: Form und Funktion früher Bildtafeln der Passion, (Berlin: Mann, 1981)., p. 211; no. 20
- Enrico Castelnuovo, La Pittura in Italia: Il Duecento e il Trecento, (Milano: Electa, 1986)., Vol. 2: p. 629
- Hans Belting, The image and its public in the Middle Ages : form and function of early paintings of the passion, (New Rochelle, NY: A.D. Caratzas, 1990)., p. 139, 252, no. 20
- Hans Belting, Bild und Kult: eine Geschichte des Bildes vor dem Zeitalter der Kunst, (München: C.H. Beck, 1990).
- Hans Belting, Likeness and presence: a history of the image before the era of art, (Chicago, IL: University of Chicago Press, 1994)., fig. 222; p. 367, 544, no. 64
-
Victor M. Schmidt, Painted Piety: panel paintings for personal devotion in Tuscany, 1250-1400, (Firenze: Centro Di, 2005).
, - W. de Grüneisen, Tableaux & equisses de l'histoire de l'art collection et édition de l'auteur, (Paris: Petit, [no publication date])., Vol. 2
