DOI Heft:
Nr. 2
DOI Artikel:Frinta, Mojmír Svatopluk: A new work by Alvaro Pirez
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18861#0044
2. Yalencian painter, retablo of Fray Bonifacio Forrer, Yalencia, Museo
borders of the garments as predominantly free-hand designs whereby the patterns were produced
by stippling (figs. 1, 4—6). Stippling was in generał practice in Pisa at the turn of the eentury
(Turino Vanni, Maestro dell'Universitas Aurificum).
The treatment of the Virgin's haloes in the Nicosia and Pisa panels coincide very closely and
support thus the grouping of the twe paintings. The design is entirely stippled and consists of
staggered semi-circles with lobate trefoils filling the areas defined by the intersecting semi-
circles (fig. 1). This design does not oceur in the Italian painting but I found it, significantly
enough, in the painting of Valencia. Several haloes in the main Crucifixion scenę and in the
Baptism in the large altarpiece commissioned by Fray Bonifacio Ferrer and datable shortly
after 1400 (museum in Valencia) can well be compared with Alvaro's haloes12 (figs. 2, 2a). Since
this affinity can be extended also to other features such as linear concept of the figures one can
suggest that Alvaro probably worked or was schooled in Valencia before his arrival to Pisa.
12. A. de Bosque, Arlisli Ilal iani in Spagna dal XIV secolo ai Re Cattolici, Milano, 1968, p. 87.
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borders of the garments as predominantly free-hand designs whereby the patterns were produced
by stippling (figs. 1, 4—6). Stippling was in generał practice in Pisa at the turn of the eentury
(Turino Vanni, Maestro dell'Universitas Aurificum).
The treatment of the Virgin's haloes in the Nicosia and Pisa panels coincide very closely and
support thus the grouping of the twe paintings. The design is entirely stippled and consists of
staggered semi-circles with lobate trefoils filling the areas defined by the intersecting semi-
circles (fig. 1). This design does not oceur in the Italian painting but I found it, significantly
enough, in the painting of Valencia. Several haloes in the main Crucifixion scenę and in the
Baptism in the large altarpiece commissioned by Fray Bonifacio Ferrer and datable shortly
after 1400 (museum in Valencia) can well be compared with Alvaro's haloes12 (figs. 2, 2a). Since
this affinity can be extended also to other features such as linear concept of the figures one can
suggest that Alvaro probably worked or was schooled in Valencia before his arrival to Pisa.
12. A. de Bosque, Arlisli Ilal iani in Spagna dal XIV secolo ai Re Cattolici, Milano, 1968, p. 87.
36