Page 30 - Jacobello del Fiore - His Oeuvre and a Sumptuous Crucifixion
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Fig. 19 - JACOBELLO DEL FIORE:The Crucifixion with Fig. 20 - JACOBELLO DEL FIORE: The Montegranaro Polyptych,
mourners and members of a Confraternity, Moscow, Pesaro, Santa Maria delle Grazie
Puschkin Museum During the first years of the new
century Jacobello had already begun
grimaces found in the corresponding figures in to take an interest in the latest artistic
the Matthiesen Crucifixion, even if some trends as they spread through Venice, which
elements such as the folds of Saint John’s cloak led to his painting the Montegranaro
flow with more curves and greater elegance. polyptych of 1407, now in Santa Maria
Likewise, I feel that an early dating is delle Grazie in Pesaro – a work that appears
appropriate for the panel in the Pushkin perfectly up to date as regards technique
Museum, Moscow - (Fig.19),64 once again and style - ( Fig. 20). Notwithstanding its
painted on a red ground and with inscriptions poor condition, one can see in it the artist’s
that closely resemble those on the triptych personal reaction to the Lombard novelties
no.14 in the Accademia; and among the pious introduced in Venice through the early
figures huddled round the Moscow Crucifix, it presence there of Michelino da Besozzo,
should not prove hard to identify their perhaps after the death of Gian Galeazzo
opposite numbers in the Matthiesen Visconti (1404) for whom this painter had
Crucifixion. worked until that date.65 Michelino’s
influence is evident in the faces of the
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