Giacobbe Giusti, ANDREA di BARTOLO
Le Portement de Croix, 1415-1420 Musée Thyssen-Bornemisza
Giacobbe Giusti, ANDREA di BARTOLO
Vierge d’humilité du musée des beaux-arts de Montréal.
Giacobbe Giusti, ANDREA di BARTOLO
Joaquim quitte la ville
v. 1400, Keresztény Múzeum
Giacobbe Giusti, ANDREA di BARTOLO
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Le Christ fait prisonnier
v. 1400, Collection privée
Giacobbe Giusti, ANDREA di BARTOLO
Couronnement de la Vierge 1405-1407, Ca’d’Oro
Giacobbe Giusti, ANDREA di BARTOLO
Joaquim et les mendiants
v. 1400, Washington
Giacobbe Giusti, ANDREA di BARTOLO
Andrea di Bartolo Cini (entre 1360 et 1370 – 1428), actif entre 1389-1428) est un miniaturiste et un peintre de l’école siennoise de la fin Trecento et du début du Quattrocento (les xive et xve siècles italiens).
Fils de Bartolo di Fredi, il travailla d’abord sur des commandes passées à son père.
Il travaille à la Cathédrale de Sienne en réalisant deux panneaux pour les chapelles San Giacomo et San Crescenzio, ainsi que les cartons pour les vitraux de la sacristie. Il travailla aussi avec ses fils Ansano et Giovanni.
Ses œuvres diffusent la manière paternelle, revue à travers la leçon de Spinello Aretino1. Son style resta largement imprégné de ceux des grands maîtres du Trecento comme Simone Martini et Duccio di Buoninsegna.
Œuvres
Fin du xive siècle
- Polyptyque du Couronnement de la Vierge, avec son père, Montalcino
- Massacre des Innocents2, v. 1380, Walters Art Museum
- L’Annonciation, v. 1383, Dyptyque, Musée des beaux-arts de Budapest
- L’Assomption de la Vierge avec saint Thomas et deux donateurs (seigneur Palamedes et son fils Matthieu), v. 1390, tempera sur bois, 203 × 85 cm, (MOFA)3
- Crucifixion, v. 1390, tempera et or sur bois, 45 × 27 cm, Musée national de Varsovie (MNW)
- Vierge à l’Enfant avec des saints, 1395-1400, triptyque, Lindenau Museum, Altenburg
- Nativité, Résurection et Saints, 1397, triptyque, 53 × 53 cmPinacothèque nationale de Sienne
- Vierge d’humilité (1400), musée des beaux-arts de Montréal
Quatre saints de 1389 à 1406
Ils pourraient faire partie de la série de tableaux superposés, à la droite d’un pilastre d’un retable non identifié, mentionné dans la description du Saint Étienne du Victoria & Albert Museum4.
- Saint Benoît, Christie’s
- Sainte Lucie, Ashmolean Museum, Oxford
- Saint Étienne, Victoria and Albert Museum
- Sainte Catherine d’Alexandrie, Lindenau museum Altenburg
Début xve siècle
- Joaquim quittant la ville, v. 1400, Christian Museum, Esztergom, Hongrie
- Joachim et les mendiants, v. 1400, National Gallery of Art, Washington
- Nativité de la Vierge, v. 1400, National Gallery of Art, Washington
- Le Christ fait prisonnier, v. 1400, Collection privée, Paris
- Le Portement de croix, v. 1400, Musée Thyssen-Bornemisza, Madrid
- Crucifixion, v. 1400, Metropolitan Museum of Art
- La Résurrection5, 1400, Walters Art Museum
- La Présentation de la Vierge, v. 1400, National Gallery of Art, Washington
- Le Couronnement de la Vierge, 1405-1407, bois, 106 × 74 cm, Ca’ d’Oro, Venise
- Crucifixion et saints6, 1400-1410, Triptyque, 55 × 45 cm, Pinacothèque nationale de Sienne
- Vierge à l’Enfant avec les quatre évangélistes, 1400-1410, tempera et feuille d’or sur panneau, 55 × 85 cm, Walters Art Museum
Œuvres de 1410 à 1420
- Vierge d’humilité, v. 1410, triptyque de dévotion personnel, tempera et or en feuilles sur peuplier, panneau central de 42 × 18 cm, panneaux latéraux de 40 × 8 cm, Brooklyn Museum, New York. Un des tableaux identiques, réalisés pour chacune des cellules des sœurs du couvent des Dominicains de Venise.
- Couronnement de la Vierge, v. 1410, polyptyque, huile sur panneau, 160 × 65 cm, Pinacothèque de Brera
- Vierge à l’Enfant, 1410-1415, 110 × 50 cm, Musée d’art de l’université de Princeton
- Le Portement de Croix, v. 1415-1420, 54 × 49 cm, Musée Thyssen-Bornemisza, Madrid, en dépôt au Musée national d’art de Catalogne (presque une copie servile du tableau du même thème de Simone Martini).
- Saint Paul, v. 1420, huile sur panneau, 29 × 20 cm, collection particulière
- La Cène, v. 1420, tempera sur panneau, 48 × 32 cm, Pinacothèque nationale (Bologne)
Non daté
- Catherine de Sienne pour Murano, pinacothèque de Brera, Milan
Notes et références
- Giovanna Nepi Sciré, « Biographies », dans La Peinture dans les Musées de Venise, Paris, Editions Place des Victoires, (ISBN 978-2-8099-0019-4), p. 573.
- Massacre des Innocents, Walters Museum.
- Virginia Museum of Fine Arts [archive].
- Victoria & Albert Museum [archive].
- Résurrection, Walters Museum.
- Triptyque de la Crucifixion, Sienne.
Andrea di Bartolo or Andrea di Bartolo Cini (1360/70 – 1428, in Siena) was an Italian painter, stained glass designer and illuminator of the Sienese Schoolmainly known for his religious subjects. He was active between 1389–1428 in the area in and around Siena.[1][2]
Life
Andrea di Bartolo was the son and pupil of Bartolo di Fredi, a very prominent painter in Siena. His youth was spent working in his father’s workshop which received many prestigious orders.
He collaborated with his father and Luca di Tommè on an altarpiece (now lost) for the altar of the shoemaker’s guild in the cathedral of Siena in 1389. This is his first documented work.[3] However, it is believed that his hand can be discerned in works of his father painted between 1380 and 1389, such as in the Massacre of the Innocents (Walters Art Museum).[2]
Andrea likely set up his own workshop around 1390. He was extremely successful in Siena and obtained numerous commissions even from as far as Veneto. His patrons were drawn from the same monastic circles as his father such as the Franciscans of Montalcino and the Dominicans of Siena.[2] From his studio he produced a large number of works, some of which have survived and are found in various museums around the world. Like Simone Martini he travelled far to execute work for patrons, including the Marches, Veneto and Treviso.[4]
It is possible Andrea was the father of the painter Giorgio di Andrea di Bartolo (active 1409 to 1428).[5]
Work
Most of Bartolo’s works are religious works of art. Throughout his career Andrea imitated his father’s paintings.[1] While he worked on projects jointly with his father, he developed an independent style. Other collaborations were with Luca di Tommè.
Andrea di Bartolo’s creativity is a continuation of the work of his father, who in turn drew on the tradition of Siena, begun by Duccio and Simone Martini. Still Andrea’s own style can also be recognised early on. Andrea had a more summary drawing style and a softer modeling technique than his father and paid less attention to naturalistic detail and expressionism.
Generally speaking Andrea’s style remained solidly rooted in the Sienese traditions. However, if required he could absorb foreign influences, in particular in his commissions from the Venetian region. For instance, his Coronation of the Virgin (Venice, Ca’ d’Oro) shows in its iconography and rich ornamental elements the influence of Venetian painting.[2]
His later work shows the influence of Taddeo di Bartolo, Martino di Bartolomeo and Spinello Aretino.[1] This is also evident in his manuscript illuminations, in which he showed himself more independent from the style of his father.[2]
References
- ^ Jump up to:a b c Federico Zeri, with the assistance of Elizabeth E. Gardner, Italian Paintings: Sienese and Central Italian Schools, A Catalogue of the Collection of The Metropolitan Museum of Art, The Metropolitan Museum of Art, 1980, p. 1-2
- ^ Jump up to:a b c d e Colum Hourihane, The Grove Encyclopedia of Medieval Art and Architecture, Volume 2, Oxford University Press USA, 6 Dec 2012, p. 96-98
- Jump up^ Joseph Archer Crowe, Giovanni Battista Cavalcaselle, A history of painting in Italy, Umbria, Florence and Siena, from the second to the sixteenth century, Volume 3, J. Murray, London, 1903, 2001 ISBN 0-543-97422-7, p. 134-137
- Jump up^ Gaudenz Freuler, Andrea di Bartolo, Fra Tommaso d’Antonio Caffarini, and Sienese Dominicans in Venice, in: The Art Bulletin Vol. 69, No. 4 (Dec., 1987), pp. 570-586
- Jump up^ Andrea di Bartolo, in: Benezit Dictionary of Artists