References Mary Logan. "L'exposition de l'ancien art siennois." Gazette des beaux-arts , 3rd ser., 32 (1904), p. 210, accepts the attribution to Duccio.Rassegna d'arte 4 (October 1904), p. 145, ill. (with added frame) [similar text as Burlington Magazine, September 1904], accepts the attribution to Duccio; relates it to an early Madonna and Child adored by monks ("Madonna of the Franciscans," Pinacoteca Nazionale, Siena), dating it slightly after the Siena picture.Burlington Magazine 5 (September 1904), p. 582 [similar text as Rassegna d'arte, October 1904], accepts the attribution to Duccio; relates it to an early Madonna and Child adored by monks ("Madonna of the Franciscans," Pinacoteca Nazionale, Siena), dating it slightly after the Siena picture.Letter to Corrado Ricci . April 9, 1904 [Biblioteca Classense, Ravenna, Carteggio Ricci, "Arte senese. Mostra 1904," vol. 1, doc. 56; see Ref. Stella 2001], writes that Stroganov has brought this work and a Simone Martini ("Virgin Annunciate"; Hermitage, St. Petersburg) to Florence, and would like to have the two pictures included in the upcoming exhibition in Siena.Il Palazzo Pubblico di Siena e la mostra d'antica arte senese . Bergamo, 1904, p. 68, mentions it as "una 'Madonnina' duccesca".Sienesische Meister des Trecento in der Gemäldegalerie zu Siena . Strasbourg, 1907, p. 22, pl. VI (cropped), accepts the attribution to Duccio and calls it an early work.Storia dell'arte italiana . 5, Milan, 1907, p. 556, mentions it among other early works, calling it close to Duccio's triptych of the Madonna and Child in the National Gallery, London.A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century . 3, London, 1908, p. 20 n. 2, Douglas lists it as by Duccio, from his first, Byzantine, period; as in the Stroganov collection, Rome.The Central Italian Painters of the Renaissance . 2nd ed., rev. and enl. New York, 1909, p. 163, lists it as by Duccio, in the Stroganov collection, Rome.A New History of Painting in Italy from the II to the XVI Century . London, 1909, p. 17 n. 6, Hutton lists it as by Duccio, in the Stroganov collection, Rome.Starye Gody (March 1909), ill. opp. p. 116.La collezione Stroganoff . Rome, 1910, p. 5 [see Ref. Kalpakcian 2005].Pièces de choix de la collection du comte Grégoire Stroganoff . 2, Rome, 1911, p. 9, pl. I.Duccio di Buoninsegna . Leipzig, 1911, p. 163 n. 1, pp. 164–65, pl. 44, relates it to the London triptych.Rassegna d'arte senese 8 (1912), p. 140, no. 5, as by Duccio, in the Stroganov collection; states that it has a remade frame, and erroneously that it was originally the central panel of a triptych; notes its similarity to the London triptych, which he attributes to the school of Duccio.Mostra di opere di Duccio di Buoninsegna e della sua scuola: catalogo . Exh. cat., Museo dell' Opera del Duomo. Siena, 1912, p. 40, no. 7 (of list of exhibited photographs), as in the Stroganov collection, Rome.in Allgemeines Lexikon der bildenden Künstler . 10, Leipzig, 1914, p. 27, dates it between 1280 and 1290.The Development of the Italian Schools of Painting . 2, The Hague, 1924, pp. 14–15, fig. 4, dates it probably before 1295, assigning it to a transitional period between the early works and the Maestà.Vita artistica 1 (February 1926), p. 24, discussing the dispersal of the Stroganov collection, mentions that the fate of the Duccio is not known.Trecentisti senesi . Rome, 1928, p. 127, pl. XII (cropped) [English ed., London, 1931, p. 147, pl. XII (cropped)], as in the Stoclet collection, Brussels; dates it about 1295, at the beginning of Duccio's mature period.Sienese Painting of the Trecento . Florence, 1930, pp. 7–8, pl. 11, notes a close relationship to Byzantine icons, with which Duccio must have come into contact during the last decade of the thirteenth century; mentions the detail of the Child reaching for his Mother's veil and the framing device of the painted parapet.Burlington Magazine 59 (October 1931), p. 169, includes it with the London triptych and the Maestà as examples of the artist's "later style", which "is unthinkable without allowing for Duccio's coming into renewed and direct contact with Byzantine monuments".Italian Pictures of the Renaissance . Oxford, 1932, p. 176.Letter to Edward Fowles . September 29, 1933, on the possibility of acquiring works from the Stoclet collection, writes "First and foremost the little Duccio 'Madonna' from the Stroganoff collection. It is the very loveliest and yet the most characteristic thing he ever did, I doubt whether a more precious painting of a primitif exists. It is a treasure you should dive for, and let no one snatch away".Pitture italiane del rinascimento . Milan, 1936, p. 152.Proporzioni 2 (1948), p. 37 [reprinted in "Opere complete di Roberto Longhi," vol. 7, Florence, 1974, p. 33].Italian Romanesque Panel Painting . Florence, 1949, pp. 17, 55, no. 77, ill., dates it 1290–1300 and calls its state excellent; notes that Adolphe Stoclet acquired it in 1923 from the Stroganov collection.Duccio . Florence, 1951, pp. 34–36, 138 n. 19, pl. 24 (cropped) [reprinted in "Pittura a Siena nel Trecento," ed. Michele Cordaro, Turin, 1991, pp. 25–27, 82 n. 19, pl. 9 (cropped)].Il Trecento . Turin, 1951, p. 512, calls the design less gothicizing than that of the London triptych.Duccio . Milan, 1952, unpaginated, pl. 35 [English ed., Milan, (1954)], notes that the corbels of the parapet may be based on those at Assisi [see Ref. Stubblebine 1979].Duccio . Milan, 1956, p. 8, pl. 7 (cropped).Art and Architecture in Italy: 1250–1400 . Baltimore, 1966, pp. 156–57, calls it close to the Maestà in its combination of Gothic and Byzantine elements, and its balancing of figural and architectural forms; notes that the facial types are very close to those in the London triptych; suggests a date at the beginning of the fourteenth century.Italian Pictures of the Renaissance: Central Italian and North Italian Schools . London, 1968, vol. 1, p. 116, as in the collection of Jacques Stoclet, Brussels.Dipinti, sculture e oggetti d'arte di età romanica e gotica . Rome, 1969, p. 43, under no. 16.in L'opera completa di Duccio . Milan, 1972, p. 87, no. 14, ill., dates it about 1300; notes evidence of repainting, especially in the tunic of the Christ Child.Starye ital'ianskie mastera [Old Italian Masters] . Moscow, 1972, pp. 13–14, pl. 7.Duccio di Buoninsegna and His School . Princeton, 1979, vol. 1, pp. ix, 8, 10–11, 20, 27–31, 63–64, 78, 110, 113, 124–25, 161; vol. 2, fig. 40 (slightly cropped), as whereabouts unknown; dates it to the 1290s; states that Offner examined it and presumably found hinge marks on both sides of the frame, since he called it the center of a tabernacle whose wings had disappeared [see Notes]; finds the resemblance to the Siena Madonna superficial, but notes a close relationship to the London triptych; states that the corbels of the parapet were inspired by Cimabue's frescoes of the 1270s in the Assisi choir; notes its connection to the Madonna and Child with Four Angels (National Gallery, London; Follower of Duccio), which he attributes to Duccio, in the use of the white veil and the gesture of the Child.Apollo 109 (April 1979), p. 314, fig. 43 (cropped).Duccio: Tuscan Art and the Medieval Workshop . [New York], 1979, pp. 62–63, figs. 4, 30, as in a private collection, Brussels; dates it about 1295–1300, between the Madonna of the Franciscans in Siena and the London triptych; states that it is unknown whether the work was originally flanked by additional panels, or was located within an external architectural setting, or was an independent panel; calls it the first depiction of a Madonna behind a painted parapet; finds that the greatest influence on the treatment of the drapery is the sculpture of Giovanni Pisano.La pittura senese del Trecento . [Milan], 1981, pp. 43–44.Gentile da Fabriano . Ithaca, N.Y., 1982, p. 42.Duccio . Milan, 1984, p. 216, no. 7, includes it among works from Duccio's circle, noting that he has not seen the original; tentatively lists it as in a private collection, Brussels.Art Bulletin 66 (June 1984), p. 192, compares it with Pietro Lorenzetti's Madonna and Child in SS. Stefano e Degna, Castiglione d'Orcia, stating that Lorenzetti's picture "must ultimately derive from a model like the Stoclet 'Madonna' by Duccio".La pecora di Giotto . Turin, 1985, pp. 132, 179, pl. 160, as formerly Stoclet collection, Brussels.Duccio: catalogo completo dei dipinti . Florence, 1989, pp. 10–11, 40–41, no. 8, ill., as whereabouts unknown; states that the parapet is based on Giotto's series from shortly after 1290 depicting the story of Saint Francis in the basilica at Assisi.Pittura dal Duecento al primo Cinquecento nelle fotografie di Girolamo Bombelli . Milan, 1991, p. 291, under no. 603, pl. XVIII (cropped), publish a forgery after this work which excludes the parapet.in Dizionario biografico degli italiani . 41, Rome, 1992, p. 746.Jahrbuch der Berliner Museen 35 (1993), pp. 72–76, fig. 1, attributes it to Duccio or a close associate; compares it with Pietro Lorenzetti's Madonna and Child in Castiglione d'Orcia.Hommage à Michel Laclotte: Etudes sur la peinture du Moyen Age et de la Renaissance . Milan, 1994, p. 563.in Pinacoteca di Brera: addenda e apparati generali . Milan, 1996, pp. 90–92, under no. 58, discusses it in the catalogue entry for a copy after it in the Brera.in The Dictionary of Art . 9, New York, 1996, p. 348, as untraced; includes it with works "attributed to Duccio by some scholars, though without universal agreement".Duccio . Milan, 1998, p. 21, ill. p. 20.Pantheon 56 (1998), pp. 4–9, fig. 1, erroneously believes that it was probably the left wing of a diptych and that the frame is probably modern; suggests a date of about 1300 or slightly later; argues that the Madonna's gesture with her right index finger refers to the Eucharist; states that it is based on the Byzantine Hodegetria Madonna, and that the parapet is related to this iconography.Falsi primitivi: prospettive critiche e metodi di esecuzione . Turin, 2001, pp. 109, 185–86 nn. 23, 24, pl. XV, publishes five forgeries after this painting.Quadri antichi del Novecento . Vicenza, 2001, pp. 90, 112 n. 9, fig. 212.in Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker . 30, Munich, 2001, p. 156, as formerly Stoclet collection, Brussels; dates it about 1300.Ricerche di storia dell'arte no. 73 (2001), pp. 15, 20 n. 18, as in an unknown private collection in Belgium; quotes from the letter from Placci to Ricci recounting Stroganoff's request to have this picture included in the 1904 Siena exhibition [see Ref. Placci 1904].in Duccio: Siena fra tradizione bizantina e mondo gotico . [Milan], 2003, p. 293.in Duccio: Siena fra tradizione bizantina e mondo gotico . [Milan], 2003, pp. 120, 129 nn. 80, 81, p. 200, ill. p. 201(color) and fig. 37.in Duccio: alle origini della pittura senese . Exh. cat., Santa Maria della Scala, Siena. Milan, 2003, pp. 135–36, 139, 145 nn. 80–81, fig. 37 (color), as in a private collection; illustrates details of the corbels by Cimabue (fig. 38) and Giotto and workshop (fig. 39) from San Francesco, Assisi.in Duccio: alle origini della pittura senese . Exh. cat., Santa Maria della Scala, Siena. Milan, 2003, p. 198, under no. 30.in Duccio: Siena fra tradizione bizantina e mondo gotico . [Milan], 2003, p. 196.Il Trecento . Florence, 2004, pp. 99–100, fig. 98.New York Times (December 20, 2004), pp. E1, E9, ill. (color, overall and detail), calls it "a sweet and melancholy masterpiece buoyed by grace" and "a miracle of preservation".New York Times (November 10, 2004), pp. E1, E7, ill. (overall in color and detail in black and white).in "Recent Acquisitions, A Selection: 2004–2005." Metropolitan Museum of Art Bulletin 63 (Fall 2005), pp. 14–15, ill. on cover (color, cropped) and p. 14 (color).New Criterion 23 (February 2005), pp. 77–80.The New Acquisition of The Metropolitan Museum of Arts [sic]—Duccio's 'Madonna' from the Roman Collection of Count G. S. Stroganoff . [2005], pp. 1–11, provides detailed provenance information for the period following Count Stroganov's death in 1910; thinks that Stroganov probably acquired the work in the late 1890s; mentions, without providing the source, an unverified account that Stroganov found the picture in a shop in Tuscany, had it restored, and himself attributed it to Duccio.in Il segreto della civiltà: La mostra dell'Antica Arte Senese del 1904 cento anni dopo . Exh. cat., Palazzo Pubblico, Museo Civico. Siena, 2005, pp. 60, 68 n. 75, fig. 2 (reproduction of Ref. Perkins 1904).in Arnolfo di Cambio: una rinascita nell'Umbria medievale . Exh. cat., Galleria Nazionale dell'Umbria, Perugia and church of Sant'Agostino, Orvieto. Milan, 2005, p. 254, under no. 47.Painted Piety: Panel Paintings for Personal Devotion in Tuscany, 1250–1400 . Florence, 2005, p. 105 n. 103, pp. 141–45, 155, 158–59 n. 9, fig. 90, discusses the painted parapet, suggesting that Duccio may have been inspired by actual as well as painted architecture; notes that the panel in Duccio's Maestà depicting Christ among the Doctors contains corbels similar to those in the parapet in the MMA painting.New Yorker (July 11 & 18, 2005), pp. 42, 44, 46, 48–49, ill. (color), provides information on the provenance of the picture after Stoclet's death in 1949.Only in America: One Hundred Paintings in American Museums Unmatched in European Collections . Milan, 2006, p. 20, fig. 27 (color).Medioevo: la Chiesa e il Palazzo . Milan, 2007, p. 573, fig. 25, illustrates it with an icon with a similar parapet by a Venetian painter of about 1270–80 (San Marco, Venice), suggesting that this illusionistic detail derives from a Byzantine prototype rather than from the work of Cimabue or Giotto at Assisi.Apollo 165 (February 2007), pp. 40–47, figs. 1 (color), 2–4 (color, black and white photographs), 5 (color, verso), 6 (color, side), 7 (x-radiograph), 8 (infrared detail), dates it about 1295–1305; compares it with Duccio's Maestà in the Kunstmuseum Bern: both small, independent panels made for private devotion; discusses the results of scientific examination of the panel; suggests the influence of French ivories on "the new sweet style" seen here, as well as on the loose veil falling in graceful folds; finds it closest to Duccio's Madonna and Child of about 1300–1305 in the Galleria Nazionale dell'Umbria, Perugia.Metropolitan Museum of Art Bulletin 66 (Summer 2008), pp. 3, 27–28, 42–45, 47–48, 50–53, 55, fig. 36 (color), dates it about 1295–1300; notes the presence of an inscription on the back of the panel reading "Segna [crossed out] ? della Buoninsegna"; discusses the importance of the illusionistic parapet, inspired by Giotto's illusionistic framework in the Upper Basilica of San Francesco in Assisi, calling it the "earliest surviving example in Tuscan painting" and noting that it "redefined the relation between the viewer and the sacred figures of the Madonna and Child"; states that Duccio foreshortened the corbels of the parapet so that the ideal viewpoint is that of a worshipper kneeling in prayer before the picture; discusses the Madonna's drapery, noting that it may have been inspired by a sculptural source, suggesting the work of Nicola Pisano who himself revived the forms of ancient Roman sculpture; relates Duccio's art to the "dolce stile nuovo" (sweet new style) developed by Dante.Metropolitan Museum of Art Bulletin 66 (Summer 2008), p. 2, recounts the circumstances surrounding the Museum's acquisition of this picture.Metropolitan Museum of Art Bulletin 66 (Summer 2008), pp. 56–59, fig. 50.in Maestri senesi e toscani nel Lindenau-Museum di Altenburg . Exh. cat., Complesso museale. Siena, 2008, p. 155, mentions it as a prototype for Giovanni di Paolo's Madonna and Child of 1440–45 (Lindenau-Museum, Altenburg; inv. 76), where the Child makes a similar gesture with his right hand.in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008 . New York, 2009, p. 36, fig. 47 (color).Old Master & 19th Century Paintings, Drawings & Watercolors: Part I . Christie's, New York. January 27, 2010, p. 8, under no. 1.
Add to My Met Gallery
Print
List View
Enlarge
Zoom
