Art/ Collection/ Collection/ Art Object

The Crucifixion

Artist:
Bernardo Daddi (Italian, Florence (?) ca. 1290–1348 Florence)
Date:
ca. 1325–30
Medium:
Tempera on wood, gold ground
Dimensions:
Overall 18 1/4 x 11 3/8 in. (46.4 x 28.9 cm); painted surface 17 1/2 x 11 3/8 in. (44.5 x 28.9 cm)
Classification:
Paintings
Credit Line:
Gift of Asbjorn R. Lunde, 1999
Accession Number:
1999.532
On view at The Met Fifth Avenue in Gallery 602
Although damaged in part, this Crucifixion is an important early work attributed to Bernardo Daddi, one of the principal painters of Florence. Dating perhaps to about 1320, it may have formed one wing of a diptych for private devotion. The poses of the two seated figures are based on Roman sculptural prototypes and are particularly beautiful. Their solidly conceived forms and grave expressions are a testament to the example of Giotto.
Forthcoming
Henry Harris, London and Tuscany (until 1950; posthumous sale, Sotheby's, London, October 24–25, 1950, no. 169, as Romagnole school, 14th century, for £300 to Lambert [Agnew]); [Agnew, London, 1950–52; sold to Knoedler]; [Knoedler, New York, 1952–at least 1953; sold to Roby]; Mrs. Sarah Roby, New York (until about 1971; sold to Lunde); Asbjorn R. Lunde, New York and Riverdale, New York (about 1971–99, as by Bernardo Daddi)
Millard Meiss. French Painting in the Time of Jean de Berry. London, 1967, text vol., pp. 105–6; plate vol., fig. 530 (detail), as Giottesque, whereabouts unknown; says the seated postures of sacred figures, like those of Mary and Saint John the Evangelist in this work, reflect the religious values of early Trecento Italy which emphasized the humility of the saints; suggests that these postures derive from ancient Roman reliefs.

Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 9, section 3, The Fourteenth Century: The Painters of the Miniaturist Tendency. new ed. Florence, 1984, pp. 339, 607, pl. CLXVIb, as location unknown; attributes it to Bernardo Daddi; calls it the fragmentary right shutter of a diptych and notes that the angels are largely a modern restoration.

Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, The Fourteenth Century: The Works of Bernardo Daddi. new ed. Florence, 1989, pp. 88, 391.



According to Ref. Boskovits 1984, this painting was originally the right shutter of a diptych.
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