Domenico Veneziano,
Saint John in the Desert (Saint Jean dans le désert ou La vocation de saint Jean), v. 1445-1450
Tempéra sur panneau, 28,4 x 31,8 cm.
Provenance : « Maitre-autel de l’église de Santa Lucia de’ Magnoli, Florence, probablement jusqu’au début du XVIIIe siècle. [1]Le retable est cité comme étant sur le maître-autel (de manière erronée comme une œuvre d’Andrea del Castagno) par Giovanni Cinelli dans Francesco Bocchi, Le bellezze della città di Firenze, ed. Giovanni Cinelli, Florence, 1677 (originellement 1591), p. 280. Il a probablement été déplacé à l’occasion de travaux de restauration effectués dans l’église entre work 1712 et … Poursuivre Sacristie de la même église autour de 1728. [2]Cité comme une œuvre de Filippo Baldinucci, Notizie dei professori del disegno da Cimbaue in qua, 5 vols. (originalement 6 vols.), ed. F. Ranalli, Florence, 1845-1847 (originellement 1728), 3, p. 95, n. 1. Troisième autel à droite de la nef de la même église, autour de 1762 et probablement jusqu’au premières années du XIXe siècle. [3]Le retable est décrit à cet emplacement par Giuseppe Richa, Notizie istoriche delle chiese florentine, 10 vols., Florence, 1754-1762: 10:294) et par Vincenzo Follini et Modesto Rastrelli, Firenze antica e moderna, 8 vols., Florence, 1789-1802, 8, p. 254). Among early writers, G. Lanzi (Storia pittorica della Italia, Bassano, 1795-1796: 1:58) is the only one who mentions the predella, … Poursuivre) Acquisition par Bernard Berenson [1865-1959], Settignano, peut-être à Londres, en juillet 1913; [4]According to his own statements (see Bernard Berenson, Abbozzo per un autoritratto, Florence, 1949: 228-229), Berenson collected art works only for the furnishing and decoration of his house, and ceased purchasing toward the middle of the second decade of the twentieth century. The period in which he came into possession of NGA 1943.4.48 can therefore be placed between about 1900 (when he … Poursuivre offert 1919 par son épouse, Mary Berenson, à Carl W. Hamilton [1886-1967], New York; [5]See Nicky Mariano and Kenneth Clark, Forty Years with Berenson, New York, 1966: 18, who claim that it was Mary Berenson who gave the present, and the rectification by David Alan Brown, « Berenson’s Contribution to Scholarship, Taste, and Collecting, » in Berenson and the Connoisseurship of Italian Painting, exh. cat., National Gallery of Art, Washington, D.C., 1979: 22-23. vendu en 1942 à la Samuel H. Kress Foundation, New York; [6]Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:159-162. Hamilton offered his painting to Samuel H. Kress in a letter dated May 1942 (copy in NGA curatorial files); the offer was accepted in the same year. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1856. don en 1943 à la National Gallery of Art. » [7]https://www.nga.gov/artworks/12146-saint-john-desert
Washington, National Gallery of Art.
Notes
| 1￪ | Le retable est cité comme étant sur le maître-autel (de manière erronée comme une œuvre d’Andrea del Castagno) par Giovanni Cinelli dans Francesco Bocchi, Le bellezze della città di Firenze, ed. Giovanni Cinelli, Florence, 1677 (originellement 1591), p. 280. Il a probablement été déplacé à l’occasion de travaux de restauration effectués dans l’église entre work 1712 et 1715 (voir Walter and Elisabeth Paatz, Die Kirchen von Florenz, 6 vols., Frankfurt am Main, 1941, 2, p. 607). |
|---|---|
| 2￪ | Cité comme une œuvre de Filippo Baldinucci, Notizie dei professori del disegno da Cimbaue in qua, 5 vols. (originalement 6 vols.), ed. F. Ranalli, Florence, 1845-1847 (originellement 1728), 3, p. 95, n. 1. |
| 3￪ | Le retable est décrit à cet emplacement par Giuseppe Richa, Notizie istoriche delle chiese florentine, 10 vols., Florence, 1754-1762: 10:294) et par Vincenzo Follini et Modesto Rastrelli, Firenze antica e moderna, 8 vols., Florence, 1789-1802, 8, p. 254). Among early writers, G. Lanzi (Storia pittorica della Italia, Bassano, 1795-1796: 1:58) is the only one who mentions the predella, which at that time must still have been attached to the main panel. That in 1827 the usually careful Rumohr, the first to read and transcribe the signature of Domenico Veneziano on the altarpiece, did not mention the predella, leads one to suppose that by this date it was no longer in the church. See Carl Friedrich von Rumohr, Italienische Forschungen, 3 vols., ed. by Julius Schlosser, Frankfurt am Main, 1920 (originally Berlin, 1827-1831): 387. In fact, Rumohr presumably saw the panel during his second stay in Italy, between 1816 and 1820. (See E. Sigismund, « R.C.F. Freiherr von Rumohr, » in Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, ed. Ulrich Thieme, Felix Becker, and Hans Vollmer, 37 vols., Liepzig, 1907-1950: 29[1935]:202. |
| 4￪ | According to his own statements (see Bernard Berenson, Abbozzo per un autoritratto, Florence, 1949: 228-229), Berenson collected art works only for the furnishing and decoration of his house, and ceased purchasing toward the middle of the second decade of the twentieth century. The period in which he came into possession of NGA 1943.4.48 can therefore be placed between about 1900 (when he moved to Villa I Tatti near Florence) and about 1915. The 1913 date was supplied by Carl Strehlke (curator, Philadelphia Museum of Art; e-mail to David Brown, 7 April 2011, in NGA curatorial files), who kindly shared his research in Berenson records at I Tatti. In the files of temporary import licenses for which Berenson applied are both a receipt dated 24 July 1913, on printed stationary of A.L. Nicholson in London, for « Picture on Panel / ‘A Saint in the Wilderness’ School of Fra Angelico, » and Berenson’s declaration to the Soprintendenza that he brought from London: « Dipinto su tavola con cornice Fig. S. Giovannino nel deserto. » Both these documents probably refer to the NGA painting. |
| 5￪ | See Nicky Mariano and Kenneth Clark, Forty Years with Berenson, New York, 1966: 18, who claim that it was Mary Berenson who gave the present, and the rectification by David Alan Brown, « Berenson’s Contribution to Scholarship, Taste, and Collecting, » in Berenson and the Connoisseurship of Italian Painting, exh. cat., National Gallery of Art, Washington, D.C., 1979: 22-23. |
| 6￪ | Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:159-162. Hamilton offered his painting to Samuel H. Kress in a letter dated May 1942 (copy in NGA curatorial files); the offer was accepted in the same year. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1856. |
| 7￪ | https://www.nga.gov/artworks/12146-saint-john-desert |
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