2007
Tommaso di CrediThe Virgin and Child with Saint John the BaptistOil on wood. Diameter 86 cm..
In Fine Art
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Beschreibung
Tommaso di Credi
Madonna mit Christuskind und dem Johannesknaben
Öl auf Holz. Durchmesser 86 cm.
Provenienz
Seit dem 19. Jahrhundert in süddeutscher Privatsammlung.
Ausstellungen
Von Oktober 2013 bis November 2019 als Dauerleihgabe im Diözesanmuseum Hofburg in Brixen.
Das hier angebotene Rundbild zeigt die am Boden sitzende Muttergottes, die ihr Kind im Schoß hält, das sich seinerseits zum Täuferknaben hinwendet. Das Geschehen spielt in einer Loggia , die einen Ausblick in eine der Stadt Florenz angenäherten Vedute gewährt, wo im Mittelgrund als Anspielung auf die Vergänglichkeit der alten Zeit auf den Anbruch der neutestamentarischen Neuzeit verwiesen wird. In Anspielung an den im Evangelium erwähnten Baum, der, wie Johannes der Täufer in der Predigt erwähnt (Matth.7,19), zu fällen sei, sofern er keine Früchte trage, ist der vorderste Baum der Baumkolonnade abgehauen. Solche allusiven Inhalte sind typische Elemente dieser Gemälde zur Privatandacht.
Das vorliegende Werk ist ein charakteristisches Bild der florentinischen Renaissance, insbesondere jener Maler, die aus der Werkstatt Verocchios hervorgegangen sind. Zu diesen gehörte auch Lorenzo di Credi, dessen Stil sich das hier in Rede stehende Bild annähert. Seine zentrale Figurenkonfiguration präsentiert sich als Variante jenes des „Tommaso“ (Tommaso di Credi) zugeschriebenen Rundbildes im Rijksmuseum in Amsterdam. Der unter dem Notnamen „Tommaso“ figurierende, biographisch bis heute nicht sicher erfasste florentinische Renaissance Maler aus der Werkstatt des Lorenzo di Credi wird wegen dieser künstlerischen Verbindung auch apokryph „Tommaso di Credi“ benannt. Ebenfalls unter dem Namen „Master of the Sacra Conversazione of Santo Spirito“ geführt, war er ein Schüler und später Werkstattpartner von Lorenzo di Credi (1459-1537). Seine Schaffenszeit umfasst das späte 15. Jahrhundert sowie die ersten Jahrzehnte des 16. Jahrhunderts.
Der in Florenz wirkende Maler spezialisierte sich auf die Produktion von Tondi und anderer Gemälde zur Privatandacht, die meist Darstellungen von Maria mit dem Kind und dem Heiligen Johannes in einer Landschaft beinhalteten, wofür das hier angebotene qualitätsvolle Gemälde beispielhaft steht. Ab dem zweiten Jahrzehnt des 16. Jahrhunderts übertrug Lorenzo di Credi die Arbeit in seiner Werkstatt zunehmend seinen Schülern und Mitarbeitern, wobei „Tommaso“ auf die Ausführung von Gemälden kleineren Formats für private Auftraggeber spezialisiert war.
Der Ideenschatz war vorwiegend von Leonardo da Vincis Bildideen genährt, was auch für das vorliegende Gemälde gilt. Die segnende Hinwendung des Kindes zum Täuferknaben präsentiert sich als Derivat von Leonardo-Zeichnungen und dürfte auch von dessen Entwurf der Anna Selbdritt in der Londoner National Gallery berührt sein, aber auch - mit Bezug auf das Kind - von der Madonna mit der Spindel. Die Gruppe der Maria mit dem Kind im Beisein von Johannes dem Täufer unserer Tafel verweist auf die Vorgaben Lorenzo di Credis, wie etwa dessen Tondo in der Galeria Borghese in Rom, die dessen Werkstattpartner, der hier in Rede stehende „Tommaso“, später auch in weiteren Varianten, insbesondere zwei jüngst im Kunsthandel wieder entdeckten Rundbildern interpretiert hat. Das uns vorliegende Tondo entstand in der Zeit um 1500 bis 1510.
Wir danken Prof. Dr. Gaudenz Freuler für die Bestätigung der Authentizität anhand hochauflösender Fotografien sowie für seine maßgebliche Hilfe bei der Katalogisierung dieses Gemäldes.
Tommaso di Credi
The Virgin and Child with Saint John the Baptist
Oil on wood. Diameter 86 cm..
Provenance
In a South German private collection since the 19th century.
Exhibitions
On permanent loan to the Diözesanmuseum Hofburg in Brixen from October 2013 to November 2019.
This tondo depicts the Virgin Mary seated on the ground, holding Her Child in Her lap as He turns towards the young John the Baptist. The scene is set in a loggia with a view of a city similar to Florence in the background. In the mid-ground of the work we see an allegorical depiction symbolising the transition from the Old Testmaent era into the beginning of the New Testament age. In an allusion to the sermon of John the Baptist in the gospels (Matt. 7:19) a tree is to be felled if it bears no fruit, in this case the first tree in the row has been cut down. Inferred motifs such as this are characteristic of paintings intended for private devotion in the home.
The present image is a typical example of the works of the Florentine Renaissance, especially of those artists trained in Verocchio's workshop. These included Lorenzo di Credi, whose style bears similarities to that used in the present image. The central group of figures is a variation on a motif found in a tondo attributed to “Tommaso” (Tommaso di Credi) in the Rijksmuseum in Amsterdam. The as yet not biographically documented artist with the notname “Tommaso” was a Florentine painter from the studio of Lorenzo di Credi. Owing to this connection, he is sometimes also referred to as “Tommaso di Credi”, and occasionally also known as the “Master of the Sacra Conversazione of Santo Spirito”. This artist is known to have been a pupil and workshop partner of Lorenzo di Credi (1459-1537) and was active throughout the entire late 15th century and into the initial decades of the 16th century.
“Tommaso” was active in Florence and specialised in the production of tondi and other works for private devotion. Depictions of the Virgin and Child with Saint John in a landscape appear frequently within his œuvre, and the present work is a very fine example of this motif. In the second decade of the 16th century, Lorenzo di Credi increasingly began delegating the work in his studio to his pupils and partners, with “Tommaso” specialising in the creation of small-format works for private patrons.
The motifs used in these works were primarily based on compositions by Leonardo da Vinci, and the present work is no exception. The way in which the Christ Child turns towards John the Baptist in blessing is clearly inspired by the drawings of Leonardo da Vinci and may even be based directly on his study for the Anna Selbdritt group in the National Gallery in London or, with regards to the Child, on his “Madonna of the Yarnwinder”. This group of the Virgin and Child together with John the Baptist can also be found in works by Lorenzo di Credi, such as his tondo in the Galeria Borghese in Rome, which his workshop partner “Tommaso” later painted several variations of. Especially notable are two tondi that were recently rediscovered on the art market. The present work was painted in around 1500 to 1510.
We would like to thank Professor Dr Gaudenz Freuler for confirming the authenticity of this work upon examination of high-resolution photographs and for his kind support in cataloguing this piece.
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Tommaso di Credi
Madonna mit Christuskind und dem Johannesknaben
Öl auf Holz. Durchmesser 86 cm.
Provenienz
Seit dem 19. Jahrhundert in süddeutscher Privatsammlung.
Ausstellungen
Von Oktober 2013 bis November 2019 als Dauerleihgabe im Diözesanmuseum Hofburg in Brixen.
Das hier angebotene Rundbild zeigt die am Boden sitzende Muttergottes, die ihr Kind im Schoß hält, das sich seinerseits zum Täuferknaben hinwendet. Das Geschehen spielt in einer Loggia , die einen Ausblick in eine der Stadt Florenz angenäherten Vedute gewährt, wo im Mittelgrund als Anspielung auf die Vergänglichkeit der alten Zeit auf den Anbruch der neutestamentarischen Neuzeit verwiesen wird. In Anspielung an den im Evangelium erwähnten Baum, der, wie Johannes der Täufer in der Predigt erwähnt (Matth.7,19), zu fällen sei, sofern er keine Früchte trage, ist der vorderste Baum der Baumkolonnade abgehauen. Solche allusiven Inhalte sind typische Elemente dieser Gemälde zur Privatandacht.
Das vorliegende Werk ist ein charakteristisches Bild der florentinischen Renaissance, insbesondere jener Maler, die aus der Werkstatt Verocchios hervorgegangen sind. Zu diesen gehörte auch Lorenzo di Credi, dessen Stil sich das hier in Rede stehende Bild annähert. Seine zentrale Figurenkonfiguration präsentiert sich als Variante jenes des „Tommaso“ (Tommaso di Credi) zugeschriebenen Rundbildes im Rijksmuseum in Amsterdam. Der unter dem Notnamen „Tommaso“ figurierende, biographisch bis heute nicht sicher erfasste florentinische Renaissance Maler aus der Werkstatt des Lorenzo di Credi wird wegen dieser künstlerischen Verbindung auch apokryph „Tommaso di Credi“ benannt. Ebenfalls unter dem Namen „Master of the Sacra Conversazione of Santo Spirito“ geführt, war er ein Schüler und später Werkstattpartner von Lorenzo di Credi (1459-1537). Seine Schaffenszeit umfasst das späte 15. Jahrhundert sowie die ersten Jahrzehnte des 16. Jahrhunderts.
Der in Florenz wirkende Maler spezialisierte sich auf die Produktion von Tondi und anderer Gemälde zur Privatandacht, die meist Darstellungen von Maria mit dem Kind und dem Heiligen Johannes in einer Landschaft beinhalteten, wofür das hier angebotene qualitätsvolle Gemälde beispielhaft steht. Ab dem zweiten Jahrzehnt des 16. Jahrhunderts übertrug Lorenzo di Credi die Arbeit in seiner Werkstatt zunehmend seinen Schülern und Mitarbeitern, wobei „Tommaso“ auf die Ausführung von Gemälden kleineren Formats für private Auftraggeber spezialisiert war.
Der Ideenschatz war vorwiegend von Leonardo da Vincis Bildideen genährt, was auch für das vorliegende Gemälde gilt. Die segnende Hinwendung des Kindes zum Täuferknaben präsentiert sich als Derivat von Leonardo-Zeichnungen und dürfte auch von dessen Entwurf der Anna Selbdritt in der Londoner National Gallery berührt sein, aber auch - mit Bezug auf das Kind - von der Madonna mit der Spindel. Die Gruppe der Maria mit dem Kind im Beisein von Johannes dem Täufer unserer Tafel verweist auf die Vorgaben Lorenzo di Credis, wie etwa dessen Tondo in der Galeria Borghese in Rom, die dessen Werkstattpartner, der hier in Rede stehende „Tommaso“, später auch in weiteren Varianten, insbesondere zwei jüngst im Kunsthandel wieder entdeckten Rundbildern interpretiert hat. Das uns vorliegende Tondo entstand in der Zeit um 1500 bis 1510.
Wir danken Prof. Dr. Gaudenz Freuler für die Bestätigung der Authentizität anhand hochauflösender Fotografien sowie für seine maßgebliche Hilfe bei der Katalogisierung dieses Gemäldes.
Tommaso di Credi
The Virgin and Child with Saint John the Baptist
Oil on wood. Diameter 86 cm..
Provenance
In a South German private collection since the 19th century.
Exhibitions
On permanent loan to the Diözesanmuseum Hofburg in Brixen from October 2013 to November 2019.
This tondo depicts the Virgin Mary seated on the ground, holding Her Child in Her lap as He turns towards the young John the Baptist. The scene is set in a loggia with a view of a city similar to Florence in the background. In the mid-ground of the work we see an allegorical depiction symbolising the transition from the Old Testmaent era into the beginning of the New Testament age. In an allusion to the sermon of John the Baptist in the gospels (Matt. 7:19) a tree is to be felled if it bears no fruit, in this case the first tree in the row has been cut down. Inferred motifs such as this are characteristic of paintings intended for private devotion in the home.
The present image is a typical example of the works of the Florentine Renaissance, especially of those artists trained in Verocchio's workshop. These included Lorenzo di Credi, whose style bears similarities to that used in the present image. The central group of figures is a variation on a motif found in a tondo attributed to “Tommaso” (Tommaso di Credi) in the Rijksmuseum in Amsterdam. The as yet not biographically documented artist with the notname “Tommaso” was a Florentine painter from the studio of Lorenzo di Credi. Owing to this connection, he is sometimes also referred to as “Tommaso di Credi”, and occasionally also known as the “Master of the Sacra Conversazione of Santo Spirito”. This artist is known to have been a pupil and workshop partner of Lorenzo di Credi (1459-1537) and was active throughout the entire late 15th century and into the initial decades of the 16th century.
“Tommaso” was active in Florence and specialised in the production of tondi and other works for private devotion. Depictions of the Virgin and Child with Saint John in a landscape appear frequently within his œuvre, and the present work is a very fine example of this motif. In the second decade of the 16th century, Lorenzo di Credi increasingly began delegating the work in his studio to his pupils and partners, with “Tommaso” specialising in the creation of small-format works for private patrons.
The motifs used in these works were primarily based on compositions by Leonardo da Vinci, and the present work is no exception. The way in which the Christ Child turns towards John the Baptist in blessing is clearly inspired by the drawings of Leonardo da Vinci and may even be based directly on his study for the Anna Selbdritt group in the National Gallery in London or, with regards to the Child, on his “Madonna of the Yarnwinder”. This group of the Virgin and Child together with John the Baptist can also be found in works by Lorenzo di Credi, such as his tondo in the Galeria Borghese in Rome, which his workshop partner “Tommaso” later painted several variations of. Especially notable are two tondi that were recently rediscovered on the art market. The present work was painted in around 1500 to 1510.
We would like to thank Professor Dr Gaudenz Freuler for confirming the authenticity of this work upon examination of high-resolution photographs and for his kind support in cataloguing this piece.
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