Duccio di Buoninsegna, The Annunciation, 1307/8-1311, Maestà predella panels, egg tempera on wood, 44.5 x 45.8 cm, bought, 1883, NG1139, National Gallery, London, Great Britain Duccio di Buoninsegna, The Nativity between Prophets Isaiah and Ezekiel, 1308-11. Also sometimes referred to crackle pattern.. Dr. Max Friedlander “cleaned” the painting at some point between 1929 and 1937. Learn more. Order reproductions from the Gallery Shop. NGA 1937.1.8 formed part of the front predella of Duccio's double-sided altarpiece the Maestà, which was in the course of execution by October 1308 and was placed on the high altar of the Cathedral of Siena on 30 June 1311;[1] the altarpiece was removed from the cathedral in 1506, first stored by the Cathedral authorities, and then later displayed on the wall of the left transept, close to the altar of Saint Sebastian, but probably by this time the predella and gable panels had already been separated from it;[2] the altarpiece was moved to the church of Sant'Ansano in 1777, where its two sides were separated and returned to the cathedral;[3] in 1798 the gables and eight panels of the predella were reported as being kept in the sacristy of the cathedral, whereas the rest, including NGA 1937.1.8, must already have been in private hands. On this treatment, see Helmut Ruhemann, The Cleaning of Paintings: Problems and Potentialities (London, 1968), 41. The focal point of this towering shrine was a luminous, gilded expanse of painting depicting the Virgin and child enthroned. 4] Duccio di Buoninsegna, The Adoration of the Magi, 1308–1311, tempera on panel, Museo dell'Opera del Duomo, Siena. 7th St and Constitution Ave NW Joseph, at left with pink cloak and halo, is separated from Mary and the child to underscore the immaculate birth—he is not the child’s father. [4] See Bacci 1936, 187. © National Gallery, London/Art Resource, NY, now in the National Gallery of London. Tempera on wood, National Gallery of Art, Washington. Gertrud Schiller, Ikonographie der christlichen Kunst, 6 vols. 1]   [fig. Advanced thumbnail link with the name of the artist and title: This page was last modified 25 November 2020. Klaus Wessel, 7 vols. 6] Duccio di Buoninsegna, The Massacre of the Innocents, 1308–1311, tempera on panel, Museo dell'Opera del Duomo, Siena. 6th St and Constitution Ave NW 4124 x 2244 px (34.92 x 19.00 cm) - 300 dpi - 1 MB. Infrared reflectographyInfrared Reflectography A photographic or digital image analysis method which captures the absorption/emission characteristics of reflected infrared radiation. The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. . (Stuttgart, 1971), 2:637 – ​662. James Archer Crowe and Giovanni Battista Cavalcaselle, around the mid-nineteenth century, were only able to see six predella panels in the sacristy of the cathedral: the much damaged Temptation on the Temple and the eighth panel of unknown subject were no longer there. The visibility and authority of the Maestà, along with Duccio’s importance as a teacher, help explain Siena’s sustained taste for the gold and abstraction of the Byzantine style even as artists elsewhere in Tuscany adopted a more naturalistic approach. Duccio di Buoninsegna, The Nativity with the Prophets Isaiah and Ezekiel, 1308-1311. The Nativity with the Prophets Isaiah and Ezekiel, ca. On the iconography of the scene, cf. Siena’s governors took great pride in their city’s prosperity and their fiduciary responsibilities, and commissioned the best native artists to decorate the books, which were publicly displayed. . The cave setting also comes via the Greek East, but the manger roof is similar to ones found in the Gothic art of northern Europe. The Nativity with the Prophets Isaiah and Ezekiel The Lord only enters and goes through it; variant of Ezekial 44:2).