Madonna and Child, Master of Barberino
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This magnificent Early Renaissance painting is the work of the revered Master of Barberino
Key Features
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- This rare Early Renaissance painting is the work of the Master of Barberino
- This sublime tempera on panel depicts the Madonna and Child flanked by two apostles
- Commissioned for a wealthy patron, the painting features gold ground and blue paint made from lapis
- Though anonymous, the Master is considered one of the most significant 14th century artists
- 51 1/4" high x 26 3/4" wide
Item Details
- Width:
26 3/4 Inches - Height:
51 1/4 Inches - Period:
Renaissance - Origin:
Other Europe - Subject:
Religious
Maestro di Barberino (The Master of Barberino)
Active fr. 1350-1380 · Florentine
Madonna and Child Enthroned with an Apostle and Saint James the Greater
Gold ground and tempera on panel
Circa 1368
A ground-breaking work of exceptional beauty and rarity, this early Italian Renaissance painting of the Madonna and Child with two apostles was painted by the celebrated Maestro di Barberino. The Maestro is considered one of the most important artists of the 14th century, and this outstanding composition shows exactly how he came to be known as "the Master."
Painted at the very beginning of the Italian Renaissance, this tempera on panel scene captures the Madonna and Christ Child enthroned, surrounded by gold and flanked by two saints, who are believed to be Saint James the Greater and Saint Phillip. In it, the child Jesus and his mother gaze at one another as he gently reaches for her and grasps her delicate veil in one hand. This loving gesture reflects a significant shift in the 14th century, when artists began to infuse representations of Christ with human qualities.
This painting was certainly commissioned for a patron of great wealth, as evidenced by the heavy use of gold ground as well as the deep, rich blue paint used to create the Madonna's cloak. This exquisite blue is the result of using ground lapis lazuli, which created one of the most expensive, luxurious pigments, which equaled and sometimes exceeded the price of gold. This lapis pigment was a favorite of fresco painters during Medieval and Renaissance times, particularly for painting the sky and the robes of the Virgin Mary. It can be seen in the fresco paintings of Giotto and the tempera paintings of Fra Angelico.
This artist obtained the moniker "Maestro di Barberino" from a commission he undertook for the Church of Saint Bartholomew in the town of Barberino Val d'Elsa, outside of Florence. A student of Andrea Orcagna, he also painted nearly the entire decoration of the apse of the Oratorio di Santa Caterina d' Alessandria, which was built around 1354. He had some of the largest commissions of any Tuscan artist of his day, including those for the churches of Santa Maria Novella and Ognissanti, two of the most important churches in all of Tuscany. It is possible that he collaborated with Orcagna while taking part in the decoration of the major vault of Santa Maria Novella, then with Puccio di Simone for a retable, now preserved at Fogg Art Museum of Cambridge.
51 1/4" high x 26 3/4" wide
Provenance:
J. Leger & Son, London
Active fr. 1350-1380 · Florentine
Madonna and Child Enthroned with an Apostle and Saint James the Greater
Gold ground and tempera on panel
Circa 1368
A ground-breaking work of exceptional beauty and rarity, this early Italian Renaissance painting of the Madonna and Child with two apostles was painted by the celebrated Maestro di Barberino. The Maestro is considered one of the most important artists of the 14th century, and this outstanding composition shows exactly how he came to be known as "the Master."
Painted at the very beginning of the Italian Renaissance, this tempera on panel scene captures the Madonna and Christ Child enthroned, surrounded by gold and flanked by two saints, who are believed to be Saint James the Greater and Saint Phillip. In it, the child Jesus and his mother gaze at one another as he gently reaches for her and grasps her delicate veil in one hand. This loving gesture reflects a significant shift in the 14th century, when artists began to infuse representations of Christ with human qualities.
This painting was certainly commissioned for a patron of great wealth, as evidenced by the heavy use of gold ground as well as the deep, rich blue paint used to create the Madonna's cloak. This exquisite blue is the result of using ground lapis lazuli, which created one of the most expensive, luxurious pigments, which equaled and sometimes exceeded the price of gold. This lapis pigment was a favorite of fresco painters during Medieval and Renaissance times, particularly for painting the sky and the robes of the Virgin Mary. It can be seen in the fresco paintings of Giotto and the tempera paintings of Fra Angelico.
This artist obtained the moniker "Maestro di Barberino" from a commission he undertook for the Church of Saint Bartholomew in the town of Barberino Val d'Elsa, outside of Florence. A student of Andrea Orcagna, he also painted nearly the entire decoration of the apse of the Oratorio di Santa Caterina d' Alessandria, which was built around 1354. He had some of the largest commissions of any Tuscan artist of his day, including those for the churches of Santa Maria Novella and Ognissanti, two of the most important churches in all of Tuscany. It is possible that he collaborated with Orcagna while taking part in the decoration of the major vault of Santa Maria Novella, then with Puccio di Simone for a retable, now preserved at Fogg Art Museum of Cambridge.
51 1/4" high x 26 3/4" wide
Provenance:
J. Leger & Son, London
