2006
Mariotto AlbertinelliGottvater segnend, umgeben von Engeln
Beschreibung
Mariotto Albertinelli
Gottvater segnend, umgeben von Engeln
Öl auf Holz. 86,5 x 181 cm.
Provenienz
Europäische Privatsammlung.
Wie Professor Carlo Falciani in einer schriftlichen Mitteilung an den Eigentümer (1. Oktober 2012) bestätigte, kann die Lünette vollständig Mariotto Albertinelli zugeschrieben werden und muss zwischen 1509 und 1513 datiert werden, als der Künstler mit Fra Bartolomeo zusammenarbeitete.
Das Werk steht stilistisch und ikonografisch in enger Beziehung zu einer Reihe von Altarbildern von Mariotto aus denselben Jahren. Hierzu lässt sich als Vergleich die Darstellung der Dreifaltigkeit aufzeigen, die um 1510 für den Altar der Kirche San Giuliano in Florenz geschaffen wurde, sowie der obere Teil der Verkündigung mit Gottvater, signiert und datiert "1510 Mariocti Florenti Opus", ausgeführt für den Hauptaltar der Compagnia di San Zanobi in der Canonica di Santa Maria del Fiori.
Die direkte ikonographische Quelle für die vorliegende Lünette scheint jedoch das Altarbild von Fra Bartolomeo aus dem Jahr 1509 zu sein, das sich heute im Museum der Villa Guinigi in Lucca befindet und den Ewigen Vater zwischen den Heiligen Maria Magdalena und Katharina darstellt. Besonders auffallend ist der Vergleich mit der Figur des Gottvaters, der das Buch mit Alpha und Omega auf seinem Knie hält, den rechten Arm segnend erhoben. Mariotto Albertinelli übernimmt in der Tat die Figur des Fra Bartolomeo, indem er den gleichen strengen Gesichtsausdruck wiedergibt und der Monumentalität des Dargestellten eine gewisse dramatische Andeutung hinzufügt, die für sein Werk typisch ist.
Wenn Zuschreibung und Datierung keinen problematischen Aspekt dieses Gemäldes darstellen, bleibt noch die Frage offen, zu welchem Altarbild die Lünette gehört: Es könnte sich um ein Werk von Albertinelli oder von Fra Bartolomeo handeln, denn bekanntlich teilten sich die beiden manchmal die Ausführung verschiedener Teile desselben Auftrags, wie zum Beispiel bei dem von Ferry Carondelet in Auftrag gegebenen Werk der Kathedrale von Besançon, wofür beide Maler zwischen 1511 und 1513 ihren Lohn erhielten. Die Haupttafel von Fra Bartolomeo wurde von einer Lünette von Mariotto überragt, die sich heute in Stuttgart befindet.
Unter den Werken, die während der Zusammenarbeit der Künstler ausgeführt wurden, stimmt das Altarbild der thronenden Madonna mit dem Kind, St. Peter und Paul in der Kirche Santa Caterina di Pisa, für das Fra Bartolomeo und Albertinelli 1511 bezahlt wurden, mit den Maßen der heutigen Lünette überein. Die Haupttafel misst 200 x 180 cm, und im Buch San Marco ist eine Zahlung an beide Maler vermerkt, "von unserem Maler Fra Bartolomeo und seinem Partner Mariotto, um am 3. Oktober sieben große Goldgulden in Gold von Mariotto für sie zu bezahlen, denn ein Teil der dreißig Dukaten mussten nach Pisa für die Tafel ... Michele Mastiani" ["da Fra Bartolomeo nostro dipintore e Mariotto suo compagno a dì 3 ottobre, fiorini siete larghi d'oro in oro, per loro da Mariotto, per parte de ducati trenta ebbe da Pisa per la tavola di ... Michele Mastiani"] .
Doch trotz der Bezahlung, an der beide Künstler beteiligt waren, entspricht die Tafel von Pisa, die 1615 durch einen Brand schwer beschädigt wurde und nun wieder in einen nach diesem Datum errichteten Altar eingefügt wurde, nur dem Stil von Fra Bartolomeo. Die Maße des Stücks stimmen perfekt mit denen der heutigen Lünette überein. Eine Analogie lässt sich auch in der Ikonographie und Komposition erkennen, wobei sich der Akt des Vaters in dem des segnenden Christuskindes widerspiegelt. Sind die beiden Tafeln als Teile desselben Auftrags zu sehen?
Wie im Fall des Auftrags für Besançon könnte sich die Zahlung an beide Maler auf zwei verschiedene Teile desselben Altarbildes beziehen. Obwohl die Verbindung zum Altar von Pisa plausibel und suggestiv ist, wird sie bis zum Vorliegen weiterer dokumentarischer Beweise nur hypothetisch bleiben.
Wir danken Prof. Carlo Falciani, auf dessen Aufsatz dieser Katalogeintrag weitgehend beruht.
Mariotto Albertinelli
God the Father Blessing, Surrounded by Angels
Oil on panel. 86.5 x 181 cm.
Provenance
European private collection
As Professor Carlo Falciani confirmed in a written communication to the owner (October 1st, 2012), the lunette can be confidently attributed to Mariotto Albertinelli and dated to between 1509 and 1513, when the artist was working with Fra Bartolomeo.
The work can be compared stylistically and iconographically to a series of altarpieces by Mariotto from the same years. For comparison, observe the representation of the Trinity, created around 1510 for the altar of the Church of San Giuliano in Florence, and the upper part of the Annunciation with God the Father, signed and dated "1510 Mariocti Florenti Opus", executed for the main altar of the Compagnia di San Zanobi in the Canonica di Santa Maria del Fiori.
However, the direct source for the iconography of the present lunette appears to be the altarpiece by Fra Bartolomeo from 1509 now in the Museum of Villa Guinigi in Lucca, which depicts the Eternal Father with St. Mary Magdalene and St. Catherine. Particularly striking is the comparison with the figure of God the Father, who holds the book with Alpha and Omega on his knee, his right arm raised in blessing. Mariotto Albertinelli adopts Fra Bartolomeo's figure, reproducing the same austere facial expression but at the same time imbuing it with a certain dramatic quality which is typical of his works.
Even when the attribution and date of the painting are unproblematic, the question remains as to which altarpiece the lunette belongs to. It could be a work painted by Albertinelli or by Fra Bartolomeo, since it is known that the two sometimes collaborated on the execution of various parts of the same commission, such as in the work commissioned by Ferry Carondelet for Besançon Cathedral, for which both painters received their wages between 1511 and 1513. The main panel by Fra Bartlomeo was surmounted by a lunette by Mariotto, which is now in Stuttgart.
Among the works carried out during the artists' collaboration, the altarpiece with the Virgin and Child enthroned with Sts. Peter and Paul in the Church of Santa Caterina di Pisa, a commission given to Fra Bartolomeo and Albertinelli in 1511, most closely matches the dimensions of the present lunette. The main panel measures 200 x 180 cm, and the book of San Marco lists payment to both painters, "from our painter Fra Bartolomeo and his partner Mariotto, to pay seven large gold guilders from Mariotto for them on October 3, because the thirty ducats had to go to Pisa for the panel ... Michele Mastiani" ["da Fra Bartolomeo nostro dipintore e Mariotto suo compagno a dì 3 ottobre, fiorini siete larghi d'oro in oro, per loro da Mariotto, per parte de ducati trenta ebbe da Pisa per la tavola di ... Michele Mastiani"] .
However, despite the fact that both artists received payment, the style of the Pisa panel, which was severely damaged by fire in 1615 and has now been reinstalled in an altar built after that date, only corresponds to the style of Fra Bartolomeo. The dimensions of the piece perfectly match those of the present lunette. An analogy can also be seen in the iconography and composition, where the act of the Father is reflected in that of the blessing Christ Child. Could the two panels have formed
Full description on lot-tissimo.com
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Mariotto Albertinelli
Gottvater segnend, umgeben von Engeln
Öl auf Holz. 86,5 x 181 cm.
Provenienz
Europäische Privatsammlung.
Wie Professor Carlo Falciani in einer schriftlichen Mitteilung an den Eigentümer (1. Oktober 2012) bestätigte, kann die Lünette vollständig Mariotto Albertinelli zugeschrieben werden und muss zwischen 1509 und 1513 datiert werden, als der Künstler mit Fra Bartolomeo zusammenarbeitete.
Das Werk steht stilistisch und ikonografisch in enger Beziehung zu einer Reihe von Altarbildern von Mariotto aus denselben Jahren. Hierzu lässt sich als Vergleich die Darstellung der Dreifaltigkeit aufzeigen, die um 1510 für den Altar der Kirche San Giuliano in Florenz geschaffen wurde, sowie der obere Teil der Verkündigung mit Gottvater, signiert und datiert "1510 Mariocti Florenti Opus", ausgeführt für den Hauptaltar der Compagnia di San Zanobi in der Canonica di Santa Maria del Fiori.
Die direkte ikonographische Quelle für die vorliegende Lünette scheint jedoch das Altarbild von Fra Bartolomeo aus dem Jahr 1509 zu sein, das sich heute im Museum der Villa Guinigi in Lucca befindet und den Ewigen Vater zwischen den Heiligen Maria Magdalena und Katharina darstellt. Besonders auffallend ist der Vergleich mit der Figur des Gottvaters, der das Buch mit Alpha und Omega auf seinem Knie hält, den rechten Arm segnend erhoben. Mariotto Albertinelli übernimmt in der Tat die Figur des Fra Bartolomeo, indem er den gleichen strengen Gesichtsausdruck wiedergibt und der Monumentalität des Dargestellten eine gewisse dramatische Andeutung hinzufügt, die für sein Werk typisch ist.
Wenn Zuschreibung und Datierung keinen problematischen Aspekt dieses Gemäldes darstellen, bleibt noch die Frage offen, zu welchem Altarbild die Lünette gehört: Es könnte sich um ein Werk von Albertinelli oder von Fra Bartolomeo handeln, denn bekanntlich teilten sich die beiden manchmal die Ausführung verschiedener Teile desselben Auftrags, wie zum Beispiel bei dem von Ferry Carondelet in Auftrag gegebenen Werk der Kathedrale von Besançon, wofür beide Maler zwischen 1511 und 1513 ihren Lohn erhielten. Die Haupttafel von Fra Bartolomeo wurde von einer Lünette von Mariotto überragt, die sich heute in Stuttgart befindet.
Unter den Werken, die während der Zusammenarbeit der Künstler ausgeführt wurden, stimmt das Altarbild der thronenden Madonna mit dem Kind, St. Peter und Paul in der Kirche Santa Caterina di Pisa, für das Fra Bartolomeo und Albertinelli 1511 bezahlt wurden, mit den Maßen der heutigen Lünette überein. Die Haupttafel misst 200 x 180 cm, und im Buch San Marco ist eine Zahlung an beide Maler vermerkt, "von unserem Maler Fra Bartolomeo und seinem Partner Mariotto, um am 3. Oktober sieben große Goldgulden in Gold von Mariotto für sie zu bezahlen, denn ein Teil der dreißig Dukaten mussten nach Pisa für die Tafel ... Michele Mastiani" ["da Fra Bartolomeo nostro dipintore e Mariotto suo compagno a dì 3 ottobre, fiorini siete larghi d'oro in oro, per loro da Mariotto, per parte de ducati trenta ebbe da Pisa per la tavola di ... Michele Mastiani"] .
Doch trotz der Bezahlung, an der beide Künstler beteiligt waren, entspricht die Tafel von Pisa, die 1615 durch einen Brand schwer beschädigt wurde und nun wieder in einen nach diesem Datum errichteten Altar eingefügt wurde, nur dem Stil von Fra Bartolomeo. Die Maße des Stücks stimmen perfekt mit denen der heutigen Lünette überein. Eine Analogie lässt sich auch in der Ikonographie und Komposition erkennen, wobei sich der Akt des Vaters in dem des segnenden Christuskindes widerspiegelt. Sind die beiden Tafeln als Teile desselben Auftrags zu sehen?
Wie im Fall des Auftrags für Besançon könnte sich die Zahlung an beide Maler auf zwei verschiedene Teile desselben Altarbildes beziehen. Obwohl die Verbindung zum Altar von Pisa plausibel und suggestiv ist, wird sie bis zum Vorliegen weiterer dokumentarischer Beweise nur hypothetisch bleiben.
Wir danken Prof. Carlo Falciani, auf dessen Aufsatz dieser Katalogeintrag weitgehend beruht.
Mariotto Albertinelli
God the Father Blessing, Surrounded by Angels
Oil on panel. 86.5 x 181 cm.
Provenance
European private collection
As Professor Carlo Falciani confirmed in a written communication to the owner (October 1st, 2012), the lunette can be confidently attributed to Mariotto Albertinelli and dated to between 1509 and 1513, when the artist was working with Fra Bartolomeo.
The work can be compared stylistically and iconographically to a series of altarpieces by Mariotto from the same years. For comparison, observe the representation of the Trinity, created around 1510 for the altar of the Church of San Giuliano in Florence, and the upper part of the Annunciation with God the Father, signed and dated "1510 Mariocti Florenti Opus", executed for the main altar of the Compagnia di San Zanobi in the Canonica di Santa Maria del Fiori.
However, the direct source for the iconography of the present lunette appears to be the altarpiece by Fra Bartolomeo from 1509 now in the Museum of Villa Guinigi in Lucca, which depicts the Eternal Father with St. Mary Magdalene and St. Catherine. Particularly striking is the comparison with the figure of God the Father, who holds the book with Alpha and Omega on his knee, his right arm raised in blessing. Mariotto Albertinelli adopts Fra Bartolomeo's figure, reproducing the same austere facial expression but at the same time imbuing it with a certain dramatic quality which is typical of his works.
Even when the attribution and date of the painting are unproblematic, the question remains as to which altarpiece the lunette belongs to. It could be a work painted by Albertinelli or by Fra Bartolomeo, since it is known that the two sometimes collaborated on the execution of various parts of the same commission, such as in the work commissioned by Ferry Carondelet for Besançon Cathedral, for which both painters received their wages between 1511 and 1513. The main panel by Fra Bartlomeo was surmounted by a lunette by Mariotto, which is now in Stuttgart.
Among the works carried out during the artists' collaboration, the altarpiece with the Virgin and Child enthroned with Sts. Peter and Paul in the Church of Santa Caterina di Pisa, a commission given to Fra Bartolomeo and Albertinelli in 1511, most closely matches the dimensions of the present lunette. The main panel measures 200 x 180 cm, and the book of San Marco lists payment to both painters, "from our painter Fra Bartolomeo and his partner Mariotto, to pay seven large gold guilders from Mariotto for them on October 3, because the thirty ducats had to go to Pisa for the panel ... Michele Mastiani" ["da Fra Bartolomeo nostro dipintore e Mariotto suo compagno a dì 3 ottobre, fiorini siete larghi d'oro in oro, per loro da Mariotto, per parte de ducati trenta ebbe da Pisa per la tavola di ... Michele Mastiani"] .
However, despite the fact that both artists received payment, the style of the Pisa panel, which was severely damaged by fire in 1615 and has now been reinstalled in an altar built after that date, only corresponds to the style of Fra Bartolomeo. The dimensions of the piece perfectly match those of the present lunette. An analogy can also be seen in the iconography and composition, where the act of the Father is reflected in that of the blessing Christ Child. Could the two panels have formed
Full description on lot-tissimo.com
Alte Kunst / Old Masters
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Neumarkt 3
Köln
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Germany
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