Page 41 - Jacobello del Fiore - His Oeuvre and a Sumptuous Crucifixion
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length. The side sections of the Crucifixion             67 Formerly Collection Foresti, Milan. Known
    between ‘i dolenti’ or the mourners are in a private         through a photograph by Bombelli in Angelelli and
    collection, as previously noted by Volpe (1962, p.           De Marchi 1991, p. 171 n. 320, with a tentative
    468; cm 43 x 35). See also L. Dania, in Fermo                attribution to Jacobello.
    1999, pp. 83-86 no. 6; Franco 2000, pp. 65-69.The
    single Crucifixion has been included in the recent       68 Pesaro, Museo Civico, inv. 3817. See T. Franco, in
    exhibition in Fermo (I. Chiappini di Sorio, in               Urbino 1998, p. 214 n. 76, who considered a
    Fermo 2006, pp. 106-107 n. 9).                               connection made by Christiansen with the panel
                                                                 seen by Lanzi as improbable (see note 47), while
63 Kiev, Museum of Oriental and Occidental Art, inv.             stating that ‘such a chronological hypothesis is not,
    149 ZK; cm 62 x 236. See. T. Franco, in Urbino               however, far from the truth’.
    1998, p. 213 no. 75; Franco 2000, p. 65, who, after
    having thought of dating this to within the second       69 Venice, Gallerie dell’Accademia, inv.22; cm 86x113.
    decade, instead opted the chronology forward to              See Moschini Marconi 1955, p. 29 n. 27. The
    approximately 1430. Up till now, the inscription             chronology of this painting, dated in an non-
    which connects the large painting’s commission to            original register to 1436, had been discussed
    the prelate Gaspare di Giovanni di Fermo has not             variously by critics, who range from reading the
    been of much assistence to the dating issue.                 date as 1326 (Pallucchini 1950, pp.13-14), or an
                                                                 earlier date to the first half of the previous decade
64 Moscow, Pushkin Museum, inv. no.5; cm 47,9 x 56,3.            (Longhi 1946, p. 50; Coletti 1953, p. XII;
    See Markova 1992, p. 78 no. 44.                              Christiansen 1982, p. 70; Franco 2000, p. 61).

65 The hypothesis of Michelino’s early activity in           70 Volpe 1958, in part. p. 281.
    Venice was first put proposed by Christiansen
    1982, pp. 11-14.                                                     eee

66 Stockholm, Nationalmuseum, inv. NM 2099, cm
    123 x 72 (the central section), 123 x 36 (the lateral
    sections). First ascribed to Jacobello by Longhi
    (1947, p. 50, fig. 20), the triptych is also considered
    by Lucco to be an early work by Jacobello (Lucco
    1989, p. 19).

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