La Vergine Maria guarda nel dolore e nel dolore mentre suo figlio Gesù muore sulla croce. Particolare dell'affresco frammentario del 1400s, attribuito all'artista rinascimentale Stefano d'Antonio di Vanni (1405-1483). Nella Chiesa di Sant’Agostino a Volterra, Toscana, Italia. Stefano d’Antonio di Vanni fu allievo del pittore e scultore fiorentino Bicci di Lorenzo (1373-1452).
3872 x 2592 px | 32,8 x 21,9 cm | 12,9 x 8,6 inches | 300dpi
Data acquisizione:
30 maggio 2007
Ubicazione:
Chiesa di Sant’Agostino, Piazza XX Settembre, Volterra, Tuscany, Italy.
Altre informazioni:
Questa immagine potrebbe avere delle imperfezioni perché è storica o di reportage.
Volterra, Tuscany, Italy: the Virgin Mary watches in grief and sorrow as her son Jesus dies in agony on the cross in this detail of a fragmentary fresco, attributed to Florentine School Renaissance painter Stefano d’Antonio di Vanni (c. 1405-1483), now displayed in the 13th century Chiesa di Sant’Agostino (Church of Saint Augustine) in Piazza XX Settembre. The fresco was brought here in 1885 from the refectory of the ruined former Camaldolese Abbey of Saint Justin, near the Balze crevasses to the northwest of the city. The complete work depicts Christ dying on the Cross witnessed by the Virgin Mary, Mary Magdalene and Saint Romuald, 11th century founder of the Camaldolese monastic order. Little is known about the life of Stefano d’Antonio di Vanni. He was born in Florence and became a pupil there of painter and sculptor Bicci di Lorenzo (1373-1452), painting a number of altarpieces with his master and also undertaking solo commissions for Tuscan churches. One of his works is in the Courtauld Gallery collection in London. In 2008, a quite similar version of this Crucifixion at Volterra, featuring the painted figures of the Virgin, Mary Magdalene and St. John the Evangelist against a gold background, achieved a sale price of £82, 850 in a Christie’s auction, more than £20, 000 above its upper estimate. Although that painting was sold as a work attributed to Stefano d’Antonio di Vanni, some art historians proposed alternative attributions to either Bicci di Lorenzo himself or to his son Neri di Bicci, who replaced Stefano in Bicci di Lorenzo’s studio. D0328.A3906
