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INDEXES INDEX OF CHANGES OF ATTRIBUTION Old Attributioll Kress Number New Attributioll Amadeo da Pistoia KI024 'Alunno di Benozzo,' p. II7, Fig. 320 Amadeo cia Pistoia KI02S 'Alunno di Denozzo,' p. II8, Fig. 319 Andrea da Firenze K263 Master of the Fabriano Altarpiece, p. 29, Fig. 68 Andrea di Giusto K269 Attributed to Vecchietta, p. lSI, Fig. 409 Baldovinetti K402 Pier Francesco Fiorentino, p. II4, Fig. 312 Balduccio, Matteo K222 Girolamo di Benvenuto, p. 162, Fig. 448 Baronzio KI3I2 Master of the Life of St. John the Baptist, p. 68, Fig. 182 Baronzio K264 Master of the Life of St.John the Baptist, p. 69, Fig. 184 Baronzio KI084 Master of the Blessed Clare, p. 70, Fig. 187 Bartolo di Fredi K204S Paolo di Giovanni Fei, p. 62, Fig. IS9 Bartolommeo di Giovanni K77 Master of the 'Apollini Sacrum,' p. 128, Fig. 34S Bartolommeo di Giovanni K79 Master of the 'Apollini Sacrum,' p. 128, Fig. 346 Bartolommeo di Giovanni KI72IA, B Master of the Apollo and Daphne Legend, p. 129, Figs. 347, 349 Cimabue(?) K36r Italian School, c. 1300, p. 6, Fig. II Cimabue (?) K324 Italian School, c. 1300, p. 6, Fig. 12 Cimabue, Contemporary 01 KII89 Tuscan School, Late XIII Century, p. 6, Fig. 8 Cossa, Francesco del K3 87 Ferrarese School, Late XV Century, p. 86, Fig. 236 Daddi, Bernardo KI97 Master of San Martino alla Palma, p. 30, Fig. 71 Daddi, Bernardo, Follower of K263 Master of the Fabriano Altarpiece, p. 29, Fig. 68 Domenico di Michelino KS40 Pesellino and Studio, p. IIO, Fig. 302 Domenico di Michelino KS41 Pesellino and Studio, p. IIO, Fig. 303 Domenico Veneziano (?) KII87 Follower ofPesellino, p. III, Fig. 307 Duccio, Follower of K3 0 9 Master of San Torpe, p. 18, Fig. 38 Duccio, Follower of KS92 Master of the Goodhart Madonna, p. 18, Fig. 40 Emilian School, c. 1370 KS27 Follower ofDamaba da Modena, p. 12, Fig. 17 Florentine School, c. I3SO KI92S Follower of Bernardo Daddi, p. 28, Fig. 63 Florentine School, c. 1370/80 K64 Follower ofOrcagna, p. 32, Fig. 72 Florentine School, Last Third of XIV Century K66,67 Giovanni del Biondo, p. 36, Figs. 83-84 Florentine School, Second Half of XIV Century KM-2,M-3 Master of the Orcagnesque Misericordia, p. 38, Figs. 89-90 Florentine School, c. 1400 KII90 Follower ofBicci di Lorenzo, p. 47, Fig. II9 Florentine School, First Half of XV Century K27S Circle of the M~ster of the Griggs Crucifixion, p. 100, Fig. 269 Florentine School, c. 1440 K3 20 Follower of Paolo Uccello, p. 102, Fig. 27S Florentine School, c. 1470 KI722 Follower ofVerrocchio, p. II9, Fig. 324 Florentine School, End of XV Century KIIS2A, B Master of the Apollo and Daphne Legend, p. 130, Figs. 348, 3So Florentine School, c. ISOO KI616,I617 Master of the Apollo and Daphne Legend, p. 130, Figs. 3S3-3S4 Francesco di Giorgio K439 Neroccio de'Landi, p. IS4, Fig. 417 Gaddi, Agnolo KIS6 Studio of Orcagna, p. 32, Fig. 77 Gaddi, Agnolo K26r Master of the St. Verdiana Panel, p. 41, Fig. 104 Giacomo del Pisano KIOS3 Studio of Giovanni di Paolo, p. ISO, Fig. 407 Giotto, School of KI430 Tuscan School, XIV Century, p. 31, Fig. 6S Giovanni del Biondo KII2I Florentine School, Late XIV Century, p. 38, Fig. 88 Italian School (Central), XIII Century KI30I Modern Imitation of XIII Century Italian School [not catalogued] Jacopo di Paolo da Bologna KI02 Cecco di Pietro, p. 73, Fig. 198 Lippi, Fra Filippo KSI6 Modern Copy after Fra Filippo Lippi [not catalogued] Lippi, Fra Filippo and Assistants K44IA, B, C, D Fra Diamante, p. 109, Figs. 293-296 Lorenzetti, Pietro KI302 Master of the Ovile Madonna ('Ugolino Lorenzetti'), p. S4, Fig. I4S Luca di Tomme KI08S Tegliacci, p. S8, Fig. ISO Mainardi K267 Follower of Domenico Ghirlandaio, p. 127, Fig. 339 Mariotto di Nardo K333 Lorenzo di Niccolo, p. 44, Fig. II7 INDEX OF CHANGES OF ATTRIBUTION Old Attribution Kress Number New Attribution Maso K74 Attributed to Jacopo di Cione, p. 33, Fig. 82 Master of the Jarves Cassoni K2SI Apollonio di Giovanni, p. 98, Fig. 267 Master of the Jarves Cassoni K49I Apollonio di Giovanni, p. 98, Figs. 263, 26S Master of the Jarves Cassoni KS28 Follower ofPesellino, p. III, Fig. 306 Master of the Osservanza Altarpiece KIS68 Sassetta and Assistant, p. 141, Fig. 382 Master of the Perticaia Triptych KIII9 Follower ofNiccolo di Pietro Gerini, p. 43, Fig. 107 Master Wenceslaus KI777 Follower of Gentile da Fabriano, p. 78, Fig. 214 Memmi, Lippo K4S9 Attributed to Barna da Siena, p. So, Fig. 128 Memmi, Lippo (?) K23 Andrea di Bartolo, p. 66, Figs. 173-174 Montaione Master KI930 Master of the Clarisse Panel, p. 13, Fig. 34 Orcagna K296 Attributed to Jacopo di Cione, p. 33, Fig. 78 Pacchiarotto, Giacomo KI283 Cozzarelli, p. 160, Fig. 438 Parentino, Bernardo K334 Follower of Francesco del Cossa, p. 8S, Fig. 234 Pellegrino di Mariano K444 Follower of Sassetta, p. 144, Fig. 412 Pisan School, XIII Century K43 I Venetian School, c. 1300, p. 7, Fig. 14 Riminese School, XIV Century K201 Tuscan School, First Half of XIV Century, p. 30, Fig. 70 Roberti, Ercole KI24S Attributed to Baldassare d'Este, p. 83, Fig. 231 Rossello diJacopo Franchi KS2S Master of the Bambino Vispo, p. 90, Fig. 242 Rossello diJacopo Franchi KI7° Master of the Griggs Crucifixion, p. 99, Fig. 270 Scaletti K3 87 Ferrarese School, Late XV Century, p. 86, Fig. 236 Sienese School, Beginning of XIV Century KS77 Follower ofDuccio, p. IS, Fig. 33 Sienese School (Niccolo di Segna ?) KII02 Follower ofSegna di Buonaventura, p. 17, Fig. 30 Sienese school, XIV Century K40, 41 Niccolo di Segna, p. 17, Figs. 36-37 Sienese School, XIV Century K292 Attributed to the Master of San Torpe, p. 19, Fig. 39 Sienese School, c. 1340 KI364 Studio of the Master of the Ovile Madonna ('Ugolino Lorenzetti'), p. SS, Fig. 140 Sienese School, XIV Century KIOI4 Andrea di Bartolo, p. 66, Fig. 178 Simone Martini KSII Lippo Memmi, p. 49, Fig. 126 Spinello Aretino, Close Follower of K373 Studio ofLuca di Tomme, p. 60, Fig. IS8 Tommaso da Modena KI02 Cecco di Pietro, p. 73, Fig. 198 Tuscan Painter, Second Third ofXIV Century K463 Follower of Bernardo Daddi, p. 29, Fig. 67 Ugolino da Siena K3 Segna di Buonaventura, p. 16, Fig. 32 Ugolino da Siena K219 Sienese School, Early XIV Century, p. 16, Fig. 3S Utili KI088 Biagio d'Antonio da Firenze, p. 131, Figs. 3S6-3S7 Utili K299 Biagio d'Antonio da Firenze, p. 132, Fig. 3SS Utili K3 26 Biagio d'Antonio da Firenze, p. 132, Fig. 362 Vanni, Lippo K373 Studio ofLuca di Tomme, p. 60, Fig. IS8 Vecchletta K290 Attributed to Andrea di Niccolo, p. IS2, Fig. 4II Virgil Master K2S1 Apollonio di Giovanni, p. 98, Fig. 267 Virgil Master KS28 Follower ofPesellino, p. III, Fig. 306 ICONOGRAPHICAL INDEX RELIGIOUS SUBJECTS A. ARCHANGELS C. NEW TEST AMENT GABRIEL Masolino, p. 94, Fig. 254 ADORATION OF THE MAGI Simone Martini, p. 48, Fig. 121 Angelico, Fra, and Fra Filippo Lippi, Frontispiece; p. 95, Figs. 259-261 MICHAEL Bartolommeo di Giovanni, p. 129, Fig. 351 Daddi, Follower of, p. 28, Fig. 60 Jacopino di Francesco, p. 71, Fig. 188 Francesco d'Antonio, p. 93, Fig. 253 Master of the Bambino Vispo, p. 91, Fig. 245 Ghirlandaio, Domenico, Follower of, p. 127, Fig. 342 Master of the Blessed Clare, p. 70, Fig. 187 Giovanni dal Ponte, p. 92, Figs. 246, 247 Master of the Straus Madonna, p. 41, Fig. 103 Lorenzetti, Pietro, Attributed to, p. 51, Fig. 130 Pacino di Buonaguida, p. 23, Fig. 50 Master of the Goodhart Madonna, p. 18, Fig. 40 Sellaio, p. 134, Fig. 361 RAPHAEL Vanni, Andrea, p. 57, Fig. 156 Biagio d'Antonio da Firenze, p. 132, Fig. 359 ADORATION OF THE SHEPHERDS Lippi, Filippino, p. 135, Fig. 369 Sienese School, c. 1440, p. 147, Fig. 400 Puccinelli, p. 74, Fig. 202 AGONY IN THE GARDEN Benvenuto di Giovanni, p. 158, Fig. 428 B. OLD TESTAMENT Pacino di Buonaguida, p. 23, Fig. 50 ESTHER Tuscan School, XIV Century, p. 31, Fig. 65 Vecchietta, Attributed to, p. 151, Fig. 409 (?) ANGEL AT THE TOMB EXPULSION FROM THE GARDEN OF EDEN Bieci di Lorenzo, Follower of, p. 47, Fig. II9 Giovanni di Paolo, p. 148, Figs. 402, 404 ANNUNCIATION HAMAN Baldovinetti, Style of, p. II4, Fig. 3II (?) Vecchietta, Attributed to, p. 151, Fig. 409 Bieci di Lorenzo, Follower of, p. 47, Fig. II9 HOLOFERNES Cozzarelli, p. 159, Fig. 435 Matteo di Giovanni, p. 157, Fig. 426 *Daddi, Follower of, p. 28, Fig. 63 ISAIAH *Fei, p. 61, Fig. 160 Gaddi, Taddeo, p. 23, Fig. 52 Florentine School, Mid-XIV Century, p. 34, Fig. 73 Francesco d'Antonio, p. 93, Fig. 253 JUDITH Giovanni del Biondo, p. 36, Fig. 91; p. 37. Fig. 85 Matteo di Giovanni, p. 157, Fig. 426 Giovanni di Paolo, p. 148, Figs. 401-402, 404 MOSES *Giovanni dal Ponte, p. 92, Fig. 246 Master of the Apollo and Daphne Legend, p. 130, Figs. 353-354 *Jacopo del Casentino and Assistant, p. 25, Fig. 57 SAMSON Lippi, Fra Filippo, p. 107, Fig. 299 Pesellino and Studio, p. IIO, Fig. 303 Masolino, p. 94, Figs. 254-255 SHEBA, QUEEN OF Master ofFucecchio, p. 105, Figs. 284-285 Apollonio di Giovanni, p. 98, Fig. 267 Orcagna, Studio of, p. 32, Fig. 77 *Sano di Pietro, p. 146, Figs. 393-394 SOLOMON *Sassetta, Follower of, p. 144, Fig. 412 Pesellino and Studio, p. IIO, Fig. 303 Sienese School, c. 1440, p. 147, Fig. 400 TOBIAS *Simone dei Crociftssi, p. 72, Fig.
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    KRESS COLLECTION DIGITAL ARCHIVE Deaccession by National Gallery of Art, October 15, 1952 IDENTIFIER DIS014 INSTITUTION National Gallery of Art, Washington, District of Columbia OFFER DATE ACCEPTANCE DATE 10/15/1952 10/21/1952 OFFER DOCUMENTATION ACCEPTANCE DOCUMENTATION Letter from the Samuel H. Kress Foundation in Board of Board of Trustees Minutes Vol. 9: 1579-1582; 1588-1595. Trustees Minutes Vol. 9: 1579-1581. National Gallery of Art, National Gallery of Art, Gallery Archives, 1B Board of Trustees Gallery Archives, 1B Board of Trustees Meeting Minutes. Meeting Minutes. 194 RELATED ART OBJECTS Milanese 16th Century The Man of Sorrows Unknown, Italian Madonna and Christ Child Enthroned with Angels Attributed to Girolamo da Cremona Triumph of Divinity [The Triumphs of Fame, Time and Divinity] NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 1 KRESS COLLECTION DIGITAL ARCHIVE Cosimo Rosselli Adoration of the Child with Saints Neri di Bicci The Martyrdom of Saint Apollonia Niccolò di Pietro Gerini Madonna and Child Andrea di Vanni Saint Clare Girolamo del Pacchia Madonna and Child NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 2 KRESS COLLECTION DIGITAL ARCHIVE Ambrogio Bergognone Madonna and Child Alvise Vivarini Saint Jerome Alvise Vivarini Saint John the Baptist Master of San Jacopo a Muciano Saint Jerome in His Study Taddeo di Bartolo Saint Geminianus NATIONAL GALLERY OF ART, WASHINGTON, DC, GALLERY ARCHIVES Page 3 KRESS COLLECTION DIGITAL ARCHIVE Attributed to L'Ortolano The Presentation in the Temple
  • Prato E Le Grandi Ville Medicee Di Poggio a Caiano E

    Prato E Le Grandi Ville Medicee Di Poggio a Caiano E

    PRATO (about 120 km return) This a very busy town to the west of Florence, rich with ancient monuments and also an important centre for the textile and wool industry. The Duomo – Cattedrale di Santo Stefano St. Stephen Cathedral is one of the most beautiful churches in Tuscany, a mix of Romanesque, Gothic and Renaissance styles. It keeps the precious Reliquia della Cintola (Sacro Cingolo) della Madonna (relic of the Holy Belt of the Virgin Mary), given by Mary to Saint Thomas the Apostle. Inside can also be found masterpieces of the Italian art with works by Filippo Lippi, Paolo Uccello and Agnolo Gaddi, as well as by Giovanni Pisano, Mino da Fiesole, Rossellino and Da Maiano. Erected in the Romanesque style in the 12th-13th centuries, the church was enlarged in the 14th century with the addition of a Gothic transept. The elegant façade with its white and green marble stripes (Prato green marble) is dated 1385-1457. Above the portal is a beautiful lunette in glazed terracotta by Andrea della Robbia from 1498, portraying a refined Madonna col Bambino e Santi. On the right corner, resting on a bronze capital by Michelozzo is the famous Pergamo del Sacro Cingolo, the Pulpit of the Holy Belt, with the Danza dei Putti (Dance of the Angels) by Donatello on the parapet (the original work of these replicas is kept inside the Duomo Museum next to the church). The pulpit was created for the public exhibition of the relic of the Holy Belt which is shown to the crowd on Christmas Day, at Easter, on May 1st and August 15th, and, in a more solemn way, on September 8th, for the celebration of the Nativity of Virgin Mary.
  • Pittura Gotica

    Pittura Gotica

    LICEO SCIENTIFICO N. COPERNICO Classe 3AL anno scolastico 2017/2018 LA PITTURA GOTICA Gruppo di lavoro: Calamai Martina Cecchi Giulia Desii Niccolò Incarbona Benedetta Magnini Alessandra prof. Claudio Puccetti LA PITTURA GOTICA LA SCUOLA FIORENTINA CIMABUE GIOTTO LA SCUOLA SENESE DUCCIO DI BUONINSEGNA SIMONE MARTINI AMBROGIO E P I E T R O LORENZETTI Le caratteristiche della pittura gotica Ha un suo spazio Non è subordinata all’architettura Scopo: educare il fedele Temi principalmente sacri (Bibbia) Opere commissionate dal clero Difficile distaccamento iniziale dalla tradizione Maggior naturalismo Attenzione per la figura umana La scuola fiorentina e la scuola senese Corrente fiorentina (Cimabue) Corrente senese (Duccio) Pochi colori, ma contrastanti Colori molto luminosi timbrici e vari Forme disposte per suggerire la Il volume non viene evidenziato profondità Attenzione ai particolari Volume più reale, più fisico Assenza elementi che suggeriscono la Struttura più architettonica profondità Forme più sintetiche Non c’è chiaroscuro Chiaroscuro forte > evidenzia il La linea più libera volume La linea agisce in rapporto al volume CIMABUE (1240 ca – 1302) CIMABUE - Crocifisso Arezzo, Chiesa San Domenico Il corpo si flette, dando maggior senso di volume Volto addolorato e all’orientale Indumento copre le nudità CIMABUE (1240 ca – 1302) CIMABUE (1240 ca – 1302) CIMABUE - Crocifisso Firenze, Chiesa Santa Croce Naturalismo nella posizione Panno quasi trasparente; si intravedono le linee del corpo Novità più accentuate