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The Artistic Heritage of Modena: Wounded Art

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Madonna and Child

Ercole Banci (Italian, Bolognese, active early 16th century)

Medium:
Tempera on wood
Dimensions:
15 1/4 x 12 3/8 in. (38.7 x 31.4 cm)
Classification:
Paintings
Credit Line:
The Friedsam Collection, Bequest of Michael Friedsam, 1931
Accession Number:
32.100.94
  • Catalogue Entry

    Forthcoming

  • Provenance

    [Volterra, Florence, by 1929–30, as by Francesco Francia; sold to Kleinberger]; [Kleinberger, Paris, 1930; sold to Friedsam]; Michael Friedsam, New York (1930–d. 1931)

  • Exhibition History

    New York. The Metropolitan Museum of Art. "The Michael Friedsam Collection," November 15, 1932–April 9, 1933, no catalogue.

    Pasadena Art Institute. November 20, 1947–January 20, 1948, no catalogue [probably the second venue of the exhibition "Italian Art: Loss and Survival" from the Virginia Museum of Fine Arts].

  • References

    Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 145, ill., as by a follower of Francia.

    Edoardo Arslan. Letter. April 21, 1952, attributes it to a Romagnole follower of Francia, close to the Zaganellis.

    Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 75, 322, 607, as a work of Francia's "school, shop, or studio".

    Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, p. 23, pl. 26, date it about 1515, suggesting that it may be by a Romagnole artist working in Francia's shop.

    Simonetta Stagni. "Alcuni ampliamenti per Ercole Banci." Paragone 41 (January–March 1990), p. 94, pl. 61, identifies the picture as almost certainly by the Bolognese painter Ercole Banci, and an early work, much influenced by Ferrarese practice.



  • Notes

    "The panel has been thinned and cradled. The surface is marred by numerous paint losses in the flesh areas, and an attempt has been made in the past to disguise these with lavish scumbling. Otherwise the picture is in very good state, with only a few minor losses." [from Ref. Zeri and Gardner 1986]

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    In the Museum
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