<< Search Results
Bookmark and Share

 

Core Record

Title Madonna and Child with Two Attendant Angels
Collection Astley Cheetham Art Gallery, Stalybridge
Artist Attributed to Jacopo di Cione (Italian painter, born 1320-1330, died before 1400) and studio
Previously attributed to Cimabue (Italian painter and mosaicist, ca.1240-before 1302)
Previously attributed to Italian (Florentine) School
Date Earliest about 1335
Date Latest 1400
Description Jacopo was a member of the important family of Florentine artists, which included Nardo, Andrea and Matteo di Cione, Jacopo was heavily influenced by his brother Andrea. The panel probably originally formed the central part of a large polyptych or altarpiece
Current Accession Number ASTAC:1932.3
Subject religion (Virgin and Child)
Measurements 103.8 x 59.5 cm cm (estimate)
Material tempera on panel
Acquisition Details Bequeathed by J. F. Cheetham 1932.
Principal Exhibitions Christian Arts Festival, Graves Art Gallery, Sheffield, 1955; Medieval and Early Renaissance Treasures in the North West, Whitworth Art Gallery, Manchester, 1976; Presents from the Past, Bolton, Oldham and Stockport Art Galleries, 1978; Art Treasures of England: The Regional Collections, Royal Academy, London, 1998.
Notes Research notes by Christopher Baker, 1989, held by Astley Cheetham Art Gallery, 'The panel probably originally formed the central part of a large polyptych. The current attribution to Jacopo di Cione was made by Jonathan Alexander who linked it to a Madonna of Humility in the Academia, Florence, chiefly because of the similar tubular limbs of the figures and the identical punch dot pattern on the haloes in both works. However, whilst the rich stamping design on the red drape is characteristic of the Cione family, the severity of the lines over the eyes of the Virgin and Child appear less sensitive than in other known works by Jacopo. The stern and perhaps even crude quality of the features can possibly be explained because it would appear that the two main figures were painted by a less sophisticated hand than that which was responsible for the angels.' Recent conservation has shown that there is no reason to suggest that the angel's faces were painted at a later date (although this does not rule out the possibility that they were painted by another member of the workshop). I would argue that the artist was simply conforming to the conventions of physiognomy for the depiction of the Virgin and Child, conventions which were much less rigid for the depictions of angels, therefore explaining the stylistically retrogressive appearance of the principal figures. Conservation notes: 'the panel has been cut at the bottom by approximately 100mm, confirmed by the position of the original horizontal baton marks. The composition would have included a step base and pavement. The panel would have been flanked by saints panels with predella scenes below'.
Rights Owner Astley Cheetham Art Gallery
Author Lisa Howard
 

 

 

 

about        contact        terms of use        image credits        Cookies        © 2013