EARLY ITALIAN ROOM • NORTH WALL This room introduces Isabella Gardner’s love of Italy and of Italian Renaissance 200 art, which became the core of her collection. Created mainly in the 14th and 15th centuries, the paintings exhibited here demonstrate two aspects of the Early Renaissance: religious works and images showing the period’s new interest in ancient mythology. Surrounding the paintings are furniture and other decorative objects created in many different periods and cultures reflecting interests sparked by Gardner’s travels to Europe, Egypt, the Middle East, and Asia. This mingling of east and west characterized her favorite Italian city, Venice. Ambrogio Lorenzetti (triangular points) of a much larger Italian (Siena), 1285–about 1348 altarpiece that was taken apart. Isabella Saint Elizabeth of Hungary, about 1335–40 Gardner placed the painting on an easel Tempera and gold on wood before a French chasuble (a priest’s stole) so that the floral pattern of the chasuble echoes Elizabeth (1207–1231), daughter of the king of the flowers the saint holds in her cloak. Hungary, was devoted to prayer and pious Towering over the small painting of observances. At the age of fourteen, she St. Elizabeth is an enormous image of St. married a German nobleman and became the Anthony Abbot painted by a different artist, mother of three children. When her husband Nicolò Gevini. Around these two paintings, died six years later, she renounced the world Gardner arranged curtains, candlesticks, to devote herself to caring for the sick and and pieces of furniture. Gardner created her the poor, and supported the building of a own personal work of art by assembling hospital. She died at age twenty-four, and her unrelated elements into a harmonious grave became a popular pilgrimage site for whole. Viewers are invited to imagine those seeking healing. connections and relationships of their own. This painting formed one of the pinnacles This project is made possible by a grant from the U.S. Institute of Museum and Library Services. EARLY ITALIAN ROOM • NORTH WALL 6 6 7 11 1 5 8 8 2 3 4 12 10 9 1. Virgin and Child and the Crucifixion.Italian, about 1350–1400. Tempera and gold on wood 2. The Crucifixion with Saints, about 1400. Andrea Vanni (Italian, about 1332–about 1414). Tempera and gold on wood Underneath painting: Bench. Italian, late 19th century. Walnut 3. Rush-bottom Chairs (three in this room). Italian (Veneto), mid-18th century. Gilded and painted walnut 4. Candlesticks (two). Indian, 19th century. Silver 5. Virgin Enthroned with Saints and Angels (central panel of an altarpiece with original frame), 1355–60. Bartolomeo Bulgarini (Italian, active 1337–1378). Tempera and gold on wood 6. Dragon Bracket (two). Italian (?), 19th century. Metal 7. Saint Anthony Abbot, late 1300s. Nicolò di Pietro Gerini (Italian, active 1368–1415). Tempera and gold on wood 8. Pair of Candelabra. British, 19th century. Silver plated copper (Sheffield) 9. Torchères (two). Italian, 19th century. Metal 10. Saint Elizabeth of Hungary (a pinnacle from a dismantled altarpiece), about 1335–40. Ambrogio Lorenzetti (Italian, 1285 – about 1348). Tempera and gold on wood 11. Virgin and Child before a Rose Hedge, 15th century. Follower of Gentile da Fabriano (Italian, Venice). Tempera and gold on wood 12. The Crucifixion,1525–28. Alesso di Benozzo (Italian, born 1473). Tempera on wood EARLY ITALIAN ROOM • EAST WALL This room introduces Isabella Gardner’s love of Italy and of Italian Renaissance 200 art, which became the core of her collection. Created mainly in the 14th and 15th centuries, the paintings exhibited here demonstrate two aspects of the Early Renaissance: religious works and images showing the period’s new interest in ancient mythology. Surrounding the paintings are furniture and other decorative objects created in many different periods and cultures reflecting interests sparked by Gardner’s travels to Europe, Egypt, the Middle East, and Asia. This mingling of east and west characterized her favorite Italian city, Venice. Piero della Francesca Simone Martini 14 Italian (Umbria), about 1415–1492 Italian (Siena), about 1284–1344 Hercules, about 1470 Virgin and Child with Saints Paul, Lucy, Fresco Catherine, and John the Baptist, about 1320 Tempera and gold on wood Identified by his club and lion’s skin, Hercules gazes out with an ambiguous Martini was among the foremost artists of expression—is it confidence or indecision? 14th-century Italy, and this is one of the earli- The nude became a central theme of est altarpieces in the museum. Delicate and Italian Renaissance art as artists began to otherworldly, with its finely tooled gold back- study examples of ancient Roman sculp- ground, this polyptych (a multi-paneled altar- ture. Here, Piero chose to portray the near- piece) comes from the Church of the Servites ly life-size Hercules as a young man rather in Orvieto, Italy. Above the Virgin and Child than as the bearded, muscle-bound figure is a victorious and blessing Christ, display- familiar in ancient sculpture. In another ing his wounds; the saints to either side carry departure from classical versions, Piero identifying attributes. On the pinnacles above used a strategically placed knot to avoid the saints, angels hold symbols of the Crucifix- full frontal nudity. ion and summon the Last Judgment with their The painting originally decorated the trumpets. upper corner of a room in the artist’s house in Borgo San Sepulchro, Italy, which helps to explain the steep perspective (look, for example, at the dramatically foreshortened club Hercules holds). Painted on plaster, the work was detached with a portion of the supporting wall and later purchased by Isabella Gardner. This is the only fresco by Piero outside Italy. This project is made possible by a grant from the U.S. Institute of Museum and Library Services. EARLY ITALIAN ROOM • EAST WALL 9 11 1 4 8 10 14 5 7 12 2 2 2 2 6 13 3 3 3 1. A Bishop Saint (part of a dismantled 9. Coat of Arms. Italian, 18th century (?). altarpiece), about 1450. Michele Silk with embroidery Giambono (Italian, active 1420–1462). 10. A Lady with a Nosegay, about 1525. Tempera on wood Bacchiacca (Italian, 1494–1557). Oil on 2. Torchère (four). Spanish, 15th century. wood Iron 11. Hercules, about 1470. Piero della 3. Chairs painted with exotic figures Francesca (Italian, about 1415–1492). 14 (twelve in this room). Italian (Rome), Fresco, from the artist’s home in Borgo 1760s or 1770s. Painted walnut San Sepolcro 4. Virgin and Child with Saints Paul, 12. The Triumphs of Fame, Time, and Lucy, Catherine, and John the Baptist, Eternity (from a cassone), about 1450. 15 about 1320. Simone Martini (Italian, about Francesco Pesellino (Italian, 1422-1457). 1284–1344). Tempera and gold on wood Tempera and gold on wood 5. The Triumphs of Love, Chastity, 13. Table. Italian, about 1580–1600. Walnut and Death (from a cassone), about 1450. 15 In the display case on the table: amber, Francesco Pesellino (Italian, 1422–1457). amethyst, agate, carnelian, and colored Tempera and gold on wood glass Rosaries and other beads, 6. Table. Italian (Bologna), 17th century. Chinese, 19th century; crystal Egg, Wood Japanese, 19th century 7. Seated Scribe, 1480. Gentile Bellini 14. Man in a Turban, about 1425–27. (Italian, 1429–1507). Photographic Masaccio (Italian, 1401–1428). Tempera on reproduction of a drawing wood 8. A Boy in a Scarlet Cap, about 1490s. Lorenzo di Credi (Italian, about 1456– 1536). Oil on wood EARLY ITALIAN ROOM • WEST WALL This room introduces Isabella Gardner’s love of Italy and of Italian Renaissance 200 art, which became the core of her collection. Created mainly in the 14th and 15th centuries, the paintings exhibited here demonstrate two aspects of the Early Renaissance: religious works and images showing the period’s new interest in ancient mythology. Surrounding the paintings are furniture and other decorative objects created in many different periods and cultures reflecting interests sparked by Gardner’s travels to Europe, Egypt, the Middle East, and Asia. This mingling of east and west characterized her favorite Italian city, Venice. Fra Angelico Twelve chairs painted with exotic 16 Italian (Florence), about 1400–1455 figures The Death and Assumption of the Virgin, Italian (Rome), 1760s or 1770s about 1432 Painted walnut Tempera and gold on wood As you walk through the museum, With vibrant colors and shimmering gold, Fra don’t forget to admire the furni- Angelico depicted two episodes from the life of the ture—there are more than 450 pieces Virgin Mary. In the lower part of the painting, the in the collection. Each of the richly twelve apostles attend the Virgin’s death. In the decorated chairs in this gallery has center, Christ holds a child that represents Mary’s a different image painted on its cen- soul. According to Christian tradition, the Virgin tral splat. You will find classically ascended into heaven three days after her burial, attired men and women, imaginary and in the painting’s upper section, we see a dra- Chinese scenes, and people wearing matically foreshortened Christ opening his arms to costumes of ancient Rome, Sicily, and welcome his mother into heaven. the Islamic world. These chairs were Fra Angelico cleverly contrasted the two cleaned and restored in the 1990s, worlds—earthly and heavenly. The deathbed scene except for two left untouched for appears rooted in reality; framed by a gray wall, comparison. Look at the uncleaned the apostles are weighty figures, feet planted firmly chairs, their white side panels still on the ground. Above, the Virgin’s pale robes cre- covered with yellowed varnish, to see ate a sense of weightlessness, as she floats against how an object’s appearance changes a gold background, surrounded by music-making over time.