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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