16th C. Paintings Madonna and Child
Attributed to Pietro degli Ingannati? (c. 1530s)
 This oil on panel, perhaps from the workshop of Pietro degli Ingannati shows the knowledge that the painter had of the High Renaissance. This is because it shows numerous characteristics that are common in paintings from that time. The Madonna is sitting by a window, holding the baby Jesus while directly showing him to the viewer, breaking the space in the front. One might assume that the artist is showing the viewer his knowledge of the human anatomy, something that was crucial in High Renaissance. There is also an interest from the artist in showing a landscape to the left. This explains the interests in nature at the time as well of his use of perspective. These two last characteristics were very relevant during the High Renaissance in Northern Italy.
The contrast in light and shadows addresses the concept of chiaroscuro. This means that the artist was in contact with works of masters like Leonardo da Vinci and Giovanni Bellini. According to Bernard Berenson, Ingannati was presumably from Veneto. Also he was strongly influenced by Giovanni Bellini, particularly in terms of composition and figurative language. A very clear example of the past statement is the striking similitude between Ingannati's Madonna and Child (1530-1540) and Bellini's Madonna of the Trees (1487).
Bellini focused his attention on the Madonna and Child subject matter in many examples. He was a great influence with younger apprentices, especially in Veneto, where he was very active. After looking at Bellini's Madonna of the Trees, there is little doubt he influenced Ingannati. "He possibly trained in the workshop of Alvise Vivarini. The Virgin and Child with Four Saints (ex-Kaiser-Friedrich Mus., Berlin; destr. 1945) and the Virgin and Child with Two Saints (Vercelli, Mus. Civ. Borgogna), both datable for stylistic reasons to the first decade of the 16th century, are his earliest signed works. The paintings show the influence of Giovanni Bellini with regard to composition and style." (Tempestini, Grove)
In Ingannati's Madonna and Child, there is a demonstration of what the artist learned from greater masters. In Bellini's Madonna of the Trees, the virgin is also standing before a window, and there is a landscape in the back showing the great harmony between the human figures and the natural settings. This composition seems much more balanced than that in Ingannati's painting. Bellini's has one tree at each side, creating a perfectly balanced composition and a great sense of perspective. The Madonna is standing right in the middle of the plane, holding a nude baby Jesus. The light is very well distributed, creating shadows that give the painting a naturalistic feeling, especially in the draperies of the virgin and the gesture of both figures.
On the other hand, Ingannati's Madonna and Child has a less balanced composition. The background is half landscape and half window. As in Bellini's painting, Ingannati's Madonna is holding baby Jesus, yet it is depicted in a less naturalistic way. This is probably because Ingannati had less experience in painting. The Madonna seems larger and out of proportion to the baby, while in Bellini's painting, the Madonna and Child are proportionate.
Another important point is the very compelling composition and style, yet the very different gaze and gestures. In Bellini's painting, the virgin is staring directly at the baby Jesus, while Jesus is looking at the viewer. This creates some sort of Sacra Conversazione between the figures and the audience, a much more intimate and personal moment. In contrast, in Ingannatti's painting, both the Madonna and the baby have their eyes closed, and their faces are looking down, probably as a sign of humility.
It is clear to the viewer that Ingannati was interested in depicting his knowledge about the human figure and interest in nature. He also wanted to portray an image that depicted holiness, faith, and humbleness. It is also clear for the viewer that while Ingannati made a great effort to develop a particular style, this Madonna and Child shows how deep the influence of his contemporary masters was - masters whom he essentially reproduced in his own works.
Hildelisa Beltrán
Provenance
Contini Bonacossi, Florence, from whom acquired by Kress in 1941
Madonna and Child
Attributed to a follower of Ambrogio Borgognone? (c. 1520s)
 This Madonna and Child is attributed to a follower of Ambrogio Borgognone (or Bergognone c. 1525). The brushwork, composition, and detail are very distinct to this family of artists and it might be assumed that Ambrogio Borgognone's younger brother, Bernardino, crafted this painting. The family of artists, from the town of Fossano in the Piedmont region, worked in a productive and efficient workshop in Milan. Upon Ambrogio's return to Milan in 1495, the brothers worked in tandem on commissioned works. These included secular private commissions as well as sacred iconographical images for numerous churches throughout Milan.
Bernardino, although an accomplished painter in his own right, is most distinguished for his assistance to his brother, a more noteworthy painter in their day. This younger brother worked so closely with Ambrogio that his work is strikingly similar. However, Bernardino's paintings feature a more contemporary flavor, attributable to other influences including Bernardino Luini and the second- generation followers of Leonardo da Vinci.1
If this Madonna and Child is, in fact, accurately attributed to the younger brother (although it seems unlikely because of stylistic correlations), this painting may be one of his final works. As can be expected, there are historical discrepancies as to the year of Bernardino's death. It is speculated that he died in Milan in either the same year as his brother or several years following (1523-1525?). This painting is dated circa 1525, so it is probable to assume that no matter which brother painted this Madonna and Child, it exemplifies a mature style.
Although each painter's manner is distinct, there are striking examples of Bernardino's employing his brother's techniques. A different Madonna and Child by Ambrogio, circa the late 1490s, compares stylistically and compositionally with our much later example by the hand of Bernardino. The main composition is nearly identical, with the Madonna and her son seated at a window, with scenes of a town in the background. The townscape depicted most likely represents towns from the Northern Lombard region, where Bergognone spent his early years. Milan's cultural influence was spreading rapidly and surrounding areas were flourishing. "In the later years of the fifteenth century, there had been enough accumulation of patronage and practice in Milan to dominate the modes of near-by towns and influences the nearby Lombard territory."2
The aesthetic comparisons continue within the two paintings, as one can see that each Madonna is adorned with a traditional halo that features Latin inscriptions, one of the Benediction and the other, an Ave Maria. Upon examination of the Madonna's facial features, one can see similarities in the cheekbones, nose, and small mouth. Thus, an absolute attribution is too questionable at this time. We may feel confident of this painting originating within the circle of the Borgognone family.
Kristyn A. Rosen
1 Zeri, Federico, Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art: North Italian School (New York: The Metropolitan Museum of Art, 1986): 3-5.
Paintings from the workshop of Bergognone and his brother, Bernardino, who worked in tandem with each other, show influences from their Milanese contemporaries, particularly those works of Leonardo.
2 Freeberg, S.J., Painting in Italy: 1500-1600 (London: Pelican Books, 1990): 381.
The nature of Milan as a cultural pilgrimage sight was debated even during the Quattrocento, when the city was a major independent citystate, because the city still lacked a major school of art. In later years this became taboo; the coming of new artists and their workshops, especially those like Bergognone who were not of Milanese origin, led to the advancement of the visual artistic heritage of the city.
Works Cited
Freeberg, S.J., Painting in Italy: 1500-1600 (London: Pelican Books, 1990): 381.
Zeri, Federico, Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art (New York: The Metropolitan Museum of Art, 1986): 3-5.
Works Consulted
Borlini, Giampiero, "The Façade of the Certosa in Pavia," The Art Bulletin 45 (1963): 323-336.
Syson, Luke, "Pavia: Bergognone," The Burlington Magazine 140 (1998): 575-578.
Waldman, Louis Alexander, "The 'Master of the Kress Landscapes' Unmasked: Giovanni Larciani and the Fucecchio Altar-piece," The Burlington Magazine 140 (1998): 457-469.
Welch, Evelyn S., Art and Authority in Renaissance Milan (New Haven and London: Yale University Press, 1995).
Provenance
Contini Bonacossi, Florence, from whom acquired by Kress in 1939
Exhibited
Staten Island, New York, Institute of Arts and Sciences, December 1955, as by Bergonone
Portrait of a Lady
Attributed to Niccolo Dell'Abate? (School of Bronzino, mid-16th century)
 Family histories have long been recorded through art, particularly through the commission of a portrait. Slowly gaining momentum throughout medieval Europe as a response to images of the Holy Family, a greater realization of the portrait was obtained during the Renaissance, which maintained immense popularity through the seventeenth and eighteenth centuries. Portrait of a Lady, attributed to the School of Bronzino, possibly from the hand of Niccolo Dell'Abate, depicts a portrait of a mid-sixteenth-century noblewoman.
Two portrait typologies dominate visual depictions of the sixteenth century.1 One style utilizes a fairly large format, which frames the sitter just above or below the knee. Traditionally, the person's legs are oriented to the left, with their arms in full view, using a foreshortened armrest for the left arm. The second portrait type involves smaller scale portraits that crop the subject at the lower half of the torso. In this format, the viewer does not know if the person is standing or sitting, and while the left arm of the sitter may be cropped, the right arm rests across the chest. Both manners share the same angle and eye direction with the sitter glancing towards the viewer.2 With two exceptions, the known portraits of Bronzino strictly adhere to either of these two approaches.
Upon first glance, Portrait of a Lady appears quite unique, as it clearly does not adhere to either of the era's popular typologies. The sitter's orientation to the right is unusual, as most contemporary portraits favored the left. The portrait is cropped slightly below the collarbone and displays neither arm, instead cropping both at her shoulders. This awkward cropping takes place much higher on the body than any work by Bronzino or his school. Despite these departures from typical portraiture, the sitter's head is turned at a slight angle to look out at the viewer, a virtually universal element of portraiture during this time.
The leftward gaze of the sitter's large almond shaped eyes meets that of the viewer to draw attention to her emotionless face. Her prominent eyes and slightly elongated forehead create a visual connection to other works of the sixteenth century. Her lips are pursed together almost forming a single line, neither smiling or frowning, leaving her thoughts a mystery, up to our own interpretation. She is dressed in red and gold tapestry, which is further accentuated by a strand of pearls and intricate gilt weaving bordering the neckline of her dress. The sitter's lavish attire properly exhibits some of the high styles of the sixteenth century. In portraits by Bronzino, small details of lavish garments and jewelry are often portrayed. While such detail is evident in Portrait of a Lady, it is not a dominant element of the composition.
Although this painting was probably completed during the height of Mannerism, it is not evident within the artwork. Court portraits were generally stylized with conservative tastes, causing a discussion of mannerism within portraits to seem obsolete. Works by Bronzino dimly reflect the Mannerist style through the subtle use of details, such as elongated fingers and the use of vibrant colors. In contrast to Bronzino paintings, the sitter in Portrait of Lady lacks such obvious elongation, and dark colors are used to create the composition.
Through portraits, one can grasp a sense of time, place, and patron. Although the identity of the woman in Portrait of a Lady is unknown, it is probable that the sitter painted by Dell'Abate was the wife of a man with power and money. The petite size of the portrait and odd styling, however, may suggest a limit to such wealth and prestige. During the Renaissance, portraiture spoke volumes about one's monetary status, but also could represent a woman's position within the household or marriage. In Portrait of a Lady, the dress of the sitter represents one aspect of her status, while her presence in the painting presents the sense and worth of the woman herself as seen through her immortalized expression.
Courtney Toumey
1 Cox-Rearick, Janet, "Bronzino's Young Woman with Her Little Boy," Studies in the History of Art, National Gallery of Art Washington 12 (1982): 71-73.
2 Borck, Maurice, trans. by David Poole Radzinowicz and Christine Schulta-Touge, Bronzino (Paris, France: Flammarion) 2002. Originally published in French in 2002 as well as English.
Provenance
Contini Bonacossi, Florence, from whom acquired by Kress in 1950
Exhibited
Tulsa, Oklahoma, Philbrook Art Center, 1952-53 (as by Niccolo dell'Abate)
The Nativity
Paolo Fiamingo (c. 1577-1582)
 Paolo Fiamingo was recorded as a member of Jacopo Tintoretto's workshop between the years 1577 and 1582 (Nichols 105). Thus, it is no surprise that the Flemish-born painter, who relocated to Venice sometime after 1561, worked in the style of Tintoretto when creating his own paintings (Turner 52). As an assistant to the great Venetian painter, Fiamingo was aware of Tintoretto's use of awkward perspectives, his work in chiaroscuro, and his ability to set his massive canvases up in a grid-like pattern; each of these devices can be found in The Nativity.
Paolo Fiamingo created this image of the nativity in the late sixteenth century, probably in the five years he was working for Tintoretto. The Nativity is placed within a theatrical setting depicting the Christ child as a humble baby, with no significant homage given to his divinity. The artist chose to use a typical everyday setting where most people are involved in mundane activities, in which the miracle of the Christ child is barely noticeable. There is, however, an awareness of some unseen force, beyond the upper right portion of the canvas, that suggests some heavenly intervention.
By using the timbers of the barn as a framing device, Fiamingo gives his composition a stagelike appearance while simultaneously setting up a grid to aid him in his artistic process. Fiamingo clearly intended to create a chaotic atmosphere of motion and daily activity within a walled city. The depiction of this open cross-section into a rustic dwelling is reminiscent of both Tintoretto's Adoration of the Shepherds (c. 1580) and Albrecht DŸrer's Nativity of 1504 (Nichols, 196-8). In this painting, though, there seems to be a stronger correlation with the German artist, Dürer, which is not surprising considering the great influence he had on Flemish painters.
The palette of the painting is subdued and the majority of the canvas is dark, which suggests an attempt to create a chiaroscuro like that of Tintoretto. However, with the lack of any particular light source or flicking light often found in the works of Tintoretto, the chiaroscuro in this composition is understated throughout. The brushwork of Fiamingo is expressionistic, typical of Venetian artists of his time. Undefined lines and loose brushstrokes make the details on faces and the Christ child almost indistinguishable, yet, at the same time, the linear details of the wood and folds in the drapery are sharply precise.
In The Nativity, Fiamingo employs an awkward sense of perspective. While the eye is led in through the lower portion of the canvas in an upward motion, the cradle is tilted up so as to show the child to the viewer. Beyond that, the eye is brought straight back through the composition to the horizon line on the upper right. At the same time, the diagonal gestures of the characters lead the eye to that same horizon line. This unnatural perspective further confuses the eye in the painting's chaotic setting.
Fiamingo chose to deviate from his Venetian predecessors by depicting his Mary and Joseph as Italian actors in a staged setting, rather than the typical iconographical illustrations of the Biblical family. Another interesting aspect of this work is the twisted pose of the older man in the right foreground, who points upward toward the corner of the canvas. The woman found directly behind him complements this gesture. If the assumption is made that the artist created this composition depicting actors in the theatre, one might conclude that the two characters are pointing to an off-stage malfunction.1 Another possibility is that the two are pointing toward the North Star as a symbolic device predicting the birth of Christ.
The most intriguing gestures of this painting can be found in the artist's depiction of the hands of both Mary and Joseph. This gesture, with the third and forth digits together while the rest are separated. shows that Fiamingo was inspired by earlier Venetian examples such as Titian's Assumption of the Virgin and Tintoretto's Jonah and the Whale.2
The condition of this sixteenth-century painting is stable, though dirty and slightly damaged in a number of places. The damage includes three chips off of Mary's cloak, a scratch in the center above the baby, and a drop of white paint between Joseph's feet. There are also abrasions along the edges of the canvas from an old frame.
Mary Snyder
1 This action may have even occurred during a dress rehearsal.
2 This placement and gesture of the hand appear repeatedly throughout many of the paintings by Tintoretto. It is found three times in Titian's Assumption, on the hands of God, the Virgin, and a man in the foreground (Rosand 39), and even the right hand of God in Michelangelo's God Separating Earth and Water on the Sistine Ceiling from 1508/12 (Nichols 160).
Works Cited
Nichols, Tom, Tintoretto: Tradition and Identity (London: Reaktion Books, 1999).
Rosand, David, Painting in Sixteenth-Century Venice (New York: Cambridge University Press, 1997).
Turner, Jane, The Dictionary of Art (London: Macmillian Publishers Limited, 1996).
Provenance
Stroganoff Collection, Leningrad
Contini Bonacossi, Florence from whom acquired by Kress, 1939
Exhibited
Washington, D.C., National Gallery of Art, 1941-52 |
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