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DOI Artikel:Dec, Dorota: Uwagi o nowych atrybucjach kilku obrazów włoskich z kolekcji książąt Czartoryskich w Krakowie
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21226#0065
Uwagi o nowych atrybucjach kilku obrazów włoskich z kolekcji książąt Czartoryskich w Krakowie
63
Remarks on the New Attributions of Severa! Italian Paintings
from the Princes Czartoryski Collection in Kraków
Summary
In 1961, in the catalogue for the exhibition 14th and 15th-Century Italian Painting, Anna
Różycka Bryzek published four early Italian paintings from the Princes Czartoryski col-
lection in Kraków (cat. nos.: 28, 40 a-b, 19, 1). This article discusses changes in the at-
tribution of the above-mentioned works and provides new information relating to their
probable authors discovered as a result of further research on the Italian painting of the
Trecento and the Quattrocento.
1) The painting Virgin and Child Enthroned with Saints (inv. no. XII-191) was attributed
to the Florentine artist Cenni di Francesco di Ser Cenni (documented in 1369-1415) and
based on the comparison with his other works, dated to around 1375-1380.
2) Two altarpiece wings with a pair of saints on either of them: Saint James the Greater
and Saint Michael the Archangel and John the Baptist and Saint Mathew (inv. no. XII-219,
220), attributed by Federico Zeriego in 1964 to a Florentine artist, Master of 1416 (active
from around 1400 to the early years of the third decade of the 15th century), were pub-
lished by Silvia Topi in a smali corpus of the artists thirty works. The dating of the paint-
ings was shifted from the third decade of the 15th century to the hrst years of the second
decade of the 15th century.
3) A double-sided painting showing Saint Jerome (on the reverse: Saint Nicholas ofTo-
lentino; inv. no. XII-189) was (orally) associated by Boskovits with Pseudo Ambrogio Bal-
dese, identihed with the Florentine painter Lippo dAndrea di Lippo (ca 1370/71-before
1451). Dated to around 1410-1415, it was probably part of a polyptych in an Augustinian
Church, which is signihed by the image of Saint Nicholas of Tolentino, whose cult was
widespread in his home order (Augustinians) still before his official canonisation in 1446.
Ali three artists represented conservative trends in the Florentine painting of the late
14th century and the hrst thirty years of the 15th century.
The author of the fourth painting was associated with the Sienese School.
4) The supposed author of the triptych showing Virgin and Child Enthroned, Crucifixion
and Lamentation, that is the artist traditionally known as the ‘Master of the Clarisse has
been lately identihed as Rinaldo da Siena, active in the 1270s. Due to the recently dis-
covered documents, it was necessary to shift the dating of the Kraków triptych from the
1290s to the 1270s. Rinaldo da Siena together with other Sienese artists, probably including
young Duccio, participated in painting frescoes in the so-called crypt under the Cathedral
of Siena, which were discovered in 1999.
63
Remarks on the New Attributions of Severa! Italian Paintings
from the Princes Czartoryski Collection in Kraków
Summary
In 1961, in the catalogue for the exhibition 14th and 15th-Century Italian Painting, Anna
Różycka Bryzek published four early Italian paintings from the Princes Czartoryski col-
lection in Kraków (cat. nos.: 28, 40 a-b, 19, 1). This article discusses changes in the at-
tribution of the above-mentioned works and provides new information relating to their
probable authors discovered as a result of further research on the Italian painting of the
Trecento and the Quattrocento.
1) The painting Virgin and Child Enthroned with Saints (inv. no. XII-191) was attributed
to the Florentine artist Cenni di Francesco di Ser Cenni (documented in 1369-1415) and
based on the comparison with his other works, dated to around 1375-1380.
2) Two altarpiece wings with a pair of saints on either of them: Saint James the Greater
and Saint Michael the Archangel and John the Baptist and Saint Mathew (inv. no. XII-219,
220), attributed by Federico Zeriego in 1964 to a Florentine artist, Master of 1416 (active
from around 1400 to the early years of the third decade of the 15th century), were pub-
lished by Silvia Topi in a smali corpus of the artists thirty works. The dating of the paint-
ings was shifted from the third decade of the 15th century to the hrst years of the second
decade of the 15th century.
3) A double-sided painting showing Saint Jerome (on the reverse: Saint Nicholas ofTo-
lentino; inv. no. XII-189) was (orally) associated by Boskovits with Pseudo Ambrogio Bal-
dese, identihed with the Florentine painter Lippo dAndrea di Lippo (ca 1370/71-before
1451). Dated to around 1410-1415, it was probably part of a polyptych in an Augustinian
Church, which is signihed by the image of Saint Nicholas of Tolentino, whose cult was
widespread in his home order (Augustinians) still before his official canonisation in 1446.
Ali three artists represented conservative trends in the Florentine painting of the late
14th century and the hrst thirty years of the 15th century.
The author of the fourth painting was associated with the Sienese School.
4) The supposed author of the triptych showing Virgin and Child Enthroned, Crucifixion
and Lamentation, that is the artist traditionally known as the ‘Master of the Clarisse has
been lately identihed as Rinaldo da Siena, active in the 1270s. Due to the recently dis-
covered documents, it was necessary to shift the dating of the Kraków triptych from the
1290s to the 1270s. Rinaldo da Siena together with other Sienese artists, probably including
young Duccio, participated in painting frescoes in the so-called crypt under the Cathedral
of Siena, which were discovered in 1999.