Bulletin of the Metropolitan Museum of Art, 8(3): p. 95.Richter, Gisela M.
Bulletin of the Metropolitan Museum of Art, 8(3): p. 95. Richter, Gisela M.
Zurich, October 22–24, 1942. p. 22, no. 254 & pl. XIII.
Credit Line: Rogers Fund, 1909 Object Number: 09.180.13a, b Excavated by the Egyptian
Edward B. Garrison. Italian Romanesque Panel Painting.
When it came to depicting Jesus on the Cross, many artists of the earlier Middle Ages portrayed Jesus as alive and alert, his body entirely resistant to the trauma of crucifixion. In this example, Jesus almost bears himself easily, with his torso erect, knees slightly bent, and head held high
Rorimer, James J., and Margaret B. Freeman.
1840s, excavated under the direction of Austen Henry Layard; 1849, presented by Layard to Lady Charlotte Guest for Canford Manor, Dorsetshire (Dorset), England; 1919, purchased by Dikran Kelekian from Ivor Churchill Guest; 1927, purchased by J
New York: The Metropolitan Museum of Art, p. 8.
Oxford, 1932, p. 183. Bernard Berenson.
From a hypogeum (so-called “tomb B�) on the property of Savino Scocchera in Mandorleto Grotticelle, east of Canosa, Italy 1895, found in a tomb near Canosa, Apulia, Italy; [by 1904 and until 1906, with Cesare and Ercole Canessa, Naples and Paris]; acquired in 1906, purchased from C
burial as the loutrophoroi 06.1021.245 and 06.1021.249; the pyxis 06.1021.253a, b;
Rorimer, James J., and Margaret B. Freeman.
This is one of a very few works that may be attributed to Berlinghiero based on analogies of style with a Crucifix in the Museo di Villa Guinigi, Lucca, that is signed „Berlingherius me pinxit.“ The painter—a key figure in the history of Tuscan painting—was from Volterra and is first documented in 1228 together with his two sons Barone and Bonaventura, both of whom, together with a third son, Marco, also became painters
Edward B. Garrison.
