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Domenico Veneziano: Two Clues

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Festschrift Ulrich Middeldorf
This chapter is in the book Festschrift Ulrich Middeldorf
DOMENICO VENEZIANO Two Clues Curtis Shell Pis. LXXXIV-LXXXVII I Much has been learned and accomplished in the past two or three decades to clarify problems and bring to light the beginnings of Early Renaissance painting in Florence. No one deserves more credit for this happy situation than the Kunst-historisches Institut in Florence: its director, the scholars and assistants associated with it who have themselves contributed richly, who have shared their learning and who have made the resources of the institute available to students from all over the world. Many problems in Renaissance art nontheless have eluded clarification and perhaps foremost among these are problems concerning Domenico Veneziano. II Few documents and few documented works survive to shed new light on Domenico Veneziano and his art. The frescoes in Sant'Egidio are destroyed, Dome-nico's origins and his early training are still matters of speculation and of shaky hypotheses. His arrival in Florence, for instance, is only indirectly derived from a letter of 1438 which implies some detailed familiarity with the artistic situation in that city1. Vasari's account of Domenico is less informative and less reliable than most of the other vite. There is little agreement among art historians about the chronological order of Domenico's oeuvre. Some believe the tondo of the Adora-tion in Berlin to be an early work for it reveals North Italian motives and fits the undocumented hypothesis that the formative origins of the artist are to be found in Venice. Others think it a late work for it shows stylistic features more compatible 4 with a dating in the middle of the Quattrocento. The Madonna in the National Gallery, Washington, D. C., has also been dated early as well as very late. Unresol-ved questions sudi as these, lacking even a semblance of unanimity of critical opinion, are serious indications of the continuing methodological shortcoming of studying Domenico's works in isolation, independent of the art created simultane-ously by Domenico's contemporaries. It is also an indication that at this stage of research an overcritical rejection of less immediately obvious works, or sudi works
© 2021 Walter de Gruyter GmbH, Berlin/Munich/Boston

DOMENICO VENEZIANO Two Clues Curtis Shell Pis. LXXXIV-LXXXVII I Much has been learned and accomplished in the past two or three decades to clarify problems and bring to light the beginnings of Early Renaissance painting in Florence. No one deserves more credit for this happy situation than the Kunst-historisches Institut in Florence: its director, the scholars and assistants associated with it who have themselves contributed richly, who have shared their learning and who have made the resources of the institute available to students from all over the world. Many problems in Renaissance art nontheless have eluded clarification and perhaps foremost among these are problems concerning Domenico Veneziano. II Few documents and few documented works survive to shed new light on Domenico Veneziano and his art. The frescoes in Sant'Egidio are destroyed, Dome-nico's origins and his early training are still matters of speculation and of shaky hypotheses. His arrival in Florence, for instance, is only indirectly derived from a letter of 1438 which implies some detailed familiarity with the artistic situation in that city1. Vasari's account of Domenico is less informative and less reliable than most of the other vite. There is little agreement among art historians about the chronological order of Domenico's oeuvre. Some believe the tondo of the Adora-tion in Berlin to be an early work for it reveals North Italian motives and fits the undocumented hypothesis that the formative origins of the artist are to be found in Venice. Others think it a late work for it shows stylistic features more compatible 4 with a dating in the middle of the Quattrocento. The Madonna in the National Gallery, Washington, D. C., has also been dated early as well as very late. Unresol-ved questions sudi as these, lacking even a semblance of unanimity of critical opinion, are serious indications of the continuing methodological shortcoming of studying Domenico's works in isolation, independent of the art created simultane-ously by Domenico's contemporaries. It is also an indication that at this stage of research an overcritical rejection of less immediately obvious works, or sudi works
© 2021 Walter de Gruyter GmbH, Berlin/Munich/Boston

Chapters in this book

  1. Frontmatter I
  2. STATT EINES VORWORTS V
  3. ZUR DRUCKLEGUNG DER VORLIEGENDEN PUBLIKATION HABEN IN GROSSZÜGIGER WEISE BEIGETRAGEN VI
  4. INHALT VII
  5. TAFELN IM TEXT XI
  6. ULRICH MIDDELDORF, BIBLIOGRAPHIE 1923-1967 XIII
  7. ABKÜRZUNGEN XXIII
  8. Die Kamee der Kaiserin Anna. Zur Datierung byzantinisierender Intaglien 1
  9. Un paliotto altomedioevale ad Orbetello 12
  10. Portali romanici veneziani 15
  11. A Typological Crucifixion: Corpus Christi College MS 157 20
  12. The Barn of the Cistercian Grange of Vaulerent (Seine-et-Oise), France 24
  13. Broderies françaises du Haut Gothique conservées en Suède 32
  14. Two Veronese Angels 39
  15. Un »San Giovanni Evangelista« di Pietro Lorenzetti 42
  16. Testimonianze frammentarie di Matteo da Viterbo 45
  17. Drei Trecento-Bilder und ihre Provenienz 52
  18. Maestro Francesco and a Portrait of the Signoria of Florence 60
  19. Il sistema proporzionale dell'interno del Duomo di Firenze 64
  20. Die sechzehn Heiligenstatuetten im Museum der Florentiner Domopera 73
  21. Paramente und ihre Stifter. Italienische Paramente des Trecento in zwei französischen Kathedralen 81
  22. New Herman Attributions 88
  23. »Fatto di sua mano«: Another Look at the Fonte Gaia Drawing Fragments in London and New York 93
  24. I Profeti sulla porta del campanile di Santa Maria del Fiore 106
  25. Some Remarkable Early Shadows in a Rare Type of Threnos 112
  26. Ein Musterblatt des Pisanello 119
  27. Il Palazzo Pitti e gli architetti fiorentini della discendenza brunelleschiana 124
  28. Sant'Andrea a Camoggiano e la cappella de' Pazzi 136
  29. Michelozzo Studies: The Florentine Mint 140
  30. Un Crocifisso d'argento in San Lorenzo 143
  31. Domenico Veneziano: Two Clues 150
  32. Ein Niello-Entwurf des Fra Filippo Lippi 155
  33. A Clue to a Lost Work by Verrocdiio 158
  34. Ricchezze sconosciute della provincia 161
  35. Ein Relief fragment des Benedetto da Maiano im Museo Civico von San Gimignano 165
  36. A Note on the Iconography of Piero della Francesca 175
  37. The Logic and Realism of Piero della Francesca 180
  38. Francesco di Giorgios Fassadenfries am Herzogspalast zu Urbino 187
  39. Un'ipotesi per Giusto di Gand 199
  40. Melozzo als Zeichner 201
  41. Una predella giovanile di Girolamo Genga 206
  42. La pala dell'Agabiti per San Francesco di Corinaldo 213
  43. Antike Vorstufen zum Florentiner Renaissance-Bacchus 218
  44. Appunti sulla Cappella Sistina 225
  45. Bemerkungen zu einer Midielangelo-Zeichnung 233
  46. The Right Arm of Michelangelo's »Moses« 241
  47. Nanni di Baccio Bigio and Michelangelo 248
  48. Die Malereien Polidoros an der Fassade von San Pietro in Vincoli 263
  49. Il modello originale della »Deposizione« del Bandinelli per Carlo V 269
  50. Franciabigio's Altar-piece of St. Nicholas of Tolentino in Santo Spirito, Florence 276
  51. Un dipinto manieristico 281
  52. Proposte per Carlo Portelli 283
  53. Eine Skizze Giorgio Vasaris 290
  54. Alcuni disegni di Giambattista Naldini 294
  55. Pietro Francavilla in den Jahren 1572 und 1576 301
  56. Bemerkungen zu zwei Bildern von Giovanni Cariani im Bode-Museum zu Berlin 308
  57. Due ritratti di Lorenzo Lotto e un »codicillo« 314
  58. Noterella su Romanino e Dürer 319
  59. Sanmidielis Villa Soranza 324
  60. Veronese »istoriato« 333
  61. Ein Entwurf für den Altar der Scuola di San Rocco in Venedig 342
  62. Riccios »Nadkter Mann mit Vase«. Zur Deutung einer Gruppe italienischer Kleinbronzen 350
  63. Niccolò da Corte and the Portal of the Palace of Andrea Doria in Genoa 358
  64. Der monstruöse Stil der spanischen Renaissance-Ornamentik als kunstgesdiichtlidies und geistesgeschiditliches Problem 364
  65. Bartholomäus Spranger als Bildhauer 370
  66. Des mystères grecs à l'âge baroque. Commentaires à l' »Antrum Platonicum« de J. Saenredam 376
  67. Meditationen über die Palla Medicea 392
  68. Pulling Herakles' Leg: Della Porta, Algardi, and Others 402
  69. Das Jünglingsbildnis des Domenidiino in Darmstadt 408
  70. Su due quadri caravaggeschi a Burghley House 414
  71. Düsseldorfer Entwürfe und Studien zu Giacinto Calandruccis »Opfer an Ceres« in der Villa Falconieri in Frascati 422
  72. Di Carlo Ridolfi e di altre »fonti« per lo studio del disegno veneto del Seicento 429
  73. Rubens und der »Merkur« des Giambologna 434
  74. Sitter and Author of a Dutch Seventeenth-Century Portrait in the Palazzo Pitti Identified 447
  75. »Een dronke slapende meyd aen een tafel« by Jan Vermeer 452
  76. »Jacob Blessing the Sons of Joseph«, from Rembrandt to Cornelius 460
  77. Freni Baroque Representations of the »Sacrifice of Iphigenia« 466
  78. Massimiliano Soldani Benzi architetto 476
  79. »I Santi Protettori della Toscana« 488
  80. Lorenzo De Caro. Ein vergessener Maler des Neapler Settecento 494
  81. Appunti su Michele Marieschi, »alter ego« del Canaletto 497
  82. An Unpublished Stage Design by Desprez and its Source: Polignano a Mare 503
  83. A Masked Ball in Bohemia 506
  84. Francis Harwood: An English Sculptor in XVIII Century Florence 510
  85. The »Apotheosis of Homer«: A Wedgwood & Bentley Plaque 517
  86. Thomas Appleton of Livorno and Canova's Statue of George Washington 523
  87. Alexis de Tocqueville and the Arts in America 553
  88. Notes on Ruskin's »Poetry of Architecture« 559
  89. Un album di disegni di Giovanni Pividor 569
  90. Unveröffentlichte Künstlerbriefe an den Grafen Adolf von Schack 574
  91. The Influence of Cubism and Orphism on the »Blue Rider« 582
  92. Zur Theorie der bildenden Kunst 591
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https://doi.org/10.1515/9783112414620-029

Chapters in this book

  1. Frontmatter I
  2. STATT EINES VORWORTS V
  3. ZUR DRUCKLEGUNG DER VORLIEGENDEN PUBLIKATION HABEN IN GROSSZÜGIGER WEISE BEIGETRAGEN VI
  4. INHALT VII
  5. TAFELN IM TEXT XI
  6. ULRICH MIDDELDORF, BIBLIOGRAPHIE 1923-1967 XIII
  7. ABKÜRZUNGEN XXIII
  8. Die Kamee der Kaiserin Anna. Zur Datierung byzantinisierender Intaglien 1
  9. Un paliotto altomedioevale ad Orbetello 12
  10. Portali romanici veneziani 15
  11. A Typological Crucifixion: Corpus Christi College MS 157 20
  12. The Barn of the Cistercian Grange of Vaulerent (Seine-et-Oise), France 24
  13. Broderies françaises du Haut Gothique conservées en Suède 32
  14. Two Veronese Angels 39
  15. Un »San Giovanni Evangelista« di Pietro Lorenzetti 42
  16. Testimonianze frammentarie di Matteo da Viterbo 45
  17. Drei Trecento-Bilder und ihre Provenienz 52
  18. Maestro Francesco and a Portrait of the Signoria of Florence 60
  19. Il sistema proporzionale dell'interno del Duomo di Firenze 64
  20. Die sechzehn Heiligenstatuetten im Museum der Florentiner Domopera 73
  21. Paramente und ihre Stifter. Italienische Paramente des Trecento in zwei französischen Kathedralen 81
  22. New Herman Attributions 88
  23. »Fatto di sua mano«: Another Look at the Fonte Gaia Drawing Fragments in London and New York 93
  24. I Profeti sulla porta del campanile di Santa Maria del Fiore 106
  25. Some Remarkable Early Shadows in a Rare Type of Threnos 112
  26. Ein Musterblatt des Pisanello 119
  27. Il Palazzo Pitti e gli architetti fiorentini della discendenza brunelleschiana 124
  28. Sant'Andrea a Camoggiano e la cappella de' Pazzi 136
  29. Michelozzo Studies: The Florentine Mint 140
  30. Un Crocifisso d'argento in San Lorenzo 143
  31. Domenico Veneziano: Two Clues 150
  32. Ein Niello-Entwurf des Fra Filippo Lippi 155
  33. A Clue to a Lost Work by Verrocdiio 158
  34. Ricchezze sconosciute della provincia 161
  35. Ein Relief fragment des Benedetto da Maiano im Museo Civico von San Gimignano 165
  36. A Note on the Iconography of Piero della Francesca 175
  37. The Logic and Realism of Piero della Francesca 180
  38. Francesco di Giorgios Fassadenfries am Herzogspalast zu Urbino 187
  39. Un'ipotesi per Giusto di Gand 199
  40. Melozzo als Zeichner 201
  41. Una predella giovanile di Girolamo Genga 206
  42. La pala dell'Agabiti per San Francesco di Corinaldo 213
  43. Antike Vorstufen zum Florentiner Renaissance-Bacchus 218
  44. Appunti sulla Cappella Sistina 225
  45. Bemerkungen zu einer Midielangelo-Zeichnung 233
  46. The Right Arm of Michelangelo's »Moses« 241
  47. Nanni di Baccio Bigio and Michelangelo 248
  48. Die Malereien Polidoros an der Fassade von San Pietro in Vincoli 263
  49. Il modello originale della »Deposizione« del Bandinelli per Carlo V 269
  50. Franciabigio's Altar-piece of St. Nicholas of Tolentino in Santo Spirito, Florence 276
  51. Un dipinto manieristico 281
  52. Proposte per Carlo Portelli 283
  53. Eine Skizze Giorgio Vasaris 290
  54. Alcuni disegni di Giambattista Naldini 294
  55. Pietro Francavilla in den Jahren 1572 und 1576 301
  56. Bemerkungen zu zwei Bildern von Giovanni Cariani im Bode-Museum zu Berlin 308
  57. Due ritratti di Lorenzo Lotto e un »codicillo« 314
  58. Noterella su Romanino e Dürer 319
  59. Sanmidielis Villa Soranza 324
  60. Veronese »istoriato« 333
  61. Ein Entwurf für den Altar der Scuola di San Rocco in Venedig 342
  62. Riccios »Nadkter Mann mit Vase«. Zur Deutung einer Gruppe italienischer Kleinbronzen 350
  63. Niccolò da Corte and the Portal of the Palace of Andrea Doria in Genoa 358
  64. Der monstruöse Stil der spanischen Renaissance-Ornamentik als kunstgesdiichtlidies und geistesgeschiditliches Problem 364
  65. Bartholomäus Spranger als Bildhauer 370
  66. Des mystères grecs à l'âge baroque. Commentaires à l' »Antrum Platonicum« de J. Saenredam 376
  67. Meditationen über die Palla Medicea 392
  68. Pulling Herakles' Leg: Della Porta, Algardi, and Others 402
  69. Das Jünglingsbildnis des Domenidiino in Darmstadt 408
  70. Su due quadri caravaggeschi a Burghley House 414
  71. Düsseldorfer Entwürfe und Studien zu Giacinto Calandruccis »Opfer an Ceres« in der Villa Falconieri in Frascati 422
  72. Di Carlo Ridolfi e di altre »fonti« per lo studio del disegno veneto del Seicento 429
  73. Rubens und der »Merkur« des Giambologna 434
  74. Sitter and Author of a Dutch Seventeenth-Century Portrait in the Palazzo Pitti Identified 447
  75. »Een dronke slapende meyd aen een tafel« by Jan Vermeer 452
  76. »Jacob Blessing the Sons of Joseph«, from Rembrandt to Cornelius 460
  77. Freni Baroque Representations of the »Sacrifice of Iphigenia« 466
  78. Massimiliano Soldani Benzi architetto 476
  79. »I Santi Protettori della Toscana« 488
  80. Lorenzo De Caro. Ein vergessener Maler des Neapler Settecento 494
  81. Appunti su Michele Marieschi, »alter ego« del Canaletto 497
  82. An Unpublished Stage Design by Desprez and its Source: Polignano a Mare 503
  83. A Masked Ball in Bohemia 506
  84. Francis Harwood: An English Sculptor in XVIII Century Florence 510
  85. The »Apotheosis of Homer«: A Wedgwood & Bentley Plaque 517
  86. Thomas Appleton of Livorno and Canova's Statue of George Washington 523
  87. Alexis de Tocqueville and the Arts in America 553
  88. Notes on Ruskin's »Poetry of Architecture« 559
  89. Un album di disegni di Giovanni Pividor 569
  90. Unveröffentlichte Künstlerbriefe an den Grafen Adolf von Schack 574
  91. The Influence of Cubism and Orphism on the »Blue Rider« 582
  92. Zur Theorie der bildenden Kunst 591
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