Page 15 - Jacobello del Fiore - His Oeuvre and a Sumptuous Crucifixion
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Fig. 7 - JACOBELLO DEL FIORE: Madonna and Child, behind the figures – a solution that goes back
Formerly Venice, Palazzo Giovanelli to Paolo Veneziano – he suggested the
Crucifixion had its genesis in Venice during
subject of study by Andrea De Marchi, who the 1390s, finding confirmation not only in
in 1987 published an important article on the Passion Scenes mentioned above, but in a
Nicolò di Pietro and Venetian painting triptych (Venice, Accademia, inv. no. 14)
between the fourteenth and fifteenth with a provenance from the Venetian church
centuries. Noting the Venetian character of of San Gregorio. In his Viatico per cinque secoli
some of the choices made by the painter, di pittura veneziana, Roberto Longhi had
such as the city wall that closes off the scene already connected the triptych with a Virgin
and Child formerly in the Palazzo Giovanelli
in Venice, speaking of its author as a
prominent painter in late fourteenth-
century Venice marked by simultaneous
interests in ‘motivi veneti, simpatie emiliane
e allusioni ad Antonio Veneziano’ (‘Venetian
motifs, Emilian sympathies and allusions to
Antonio Veneziano’) - ( Fig. 7).8 The Acca-
demia triptych was then discussed by Luigi
Coletti, who believed it could be connected
with the early period of Jacobello del
Fiore.9
Leaving aside this last reference, De
Marchi emphasised the common authorship
of all the works cited and proposed a
provisional name – the Master of the
Giovanelli Madonna (‘Maestro della
Madonna Giovanelli’) – underlining his
importance for Venetian painting of the late
Trecento, which was characterized by a
widespread interest in the ‘neo-giottesque’
culture of Altichiero and Jacopo Avanzi.
Having thus identified the artist, De Marchi
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