Lorenzo Monaco, the leading painter in Florence during the early fifteenth century, was equally gifted as an illuminator of books, a painter of frescoes, altarpieces and devotional paintings. This panel likely formed the central pinnacle of a multi-tiered altarpiece, perhaps that portraying the Madonna and Child with Saints Domninus, John the Baptist, Peter, and Anthony Abbot (Museo Diocesano, Empoli). In depicting the Crucifixion, the artist has excluded the numerous figures traditionally incorporated into the narrative, such as the crowds of soldiers, the mourning Holy Women, and the Thieves, thereby reducing the composition to include only the Virgin and Saint John. Contemplating Christ’s sacrifice, they are portrayed seated on the ground, for compositional or dramatic effect. Their relatively large size compared to the figure of Christ may relate to their roles as intercessors for the viewer, emphasizing the devotional aspect of the work.
Bardini, Florence (Catalogue of ... Pictures and other Works of Art..the Property of Signor Stephano Bardini of Florence), Christie's, London, May 30, 1902, no. 627, as Spinello Aretino; bt. Frank Loeser, florence. Acquired by Robert Lehman in 1958.
Osvald Sirén. Don Lorenzo Monaco. Strasbourg, 1905, pp. 42-43.
Bernardo Berenson. "Due illustratori italiani dello Speculum Humanae Salvationis." Bollettino d'arte 5 (1925–26), pp. 300-301.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 9, Late Gothic Painting in Tuscany. The Hague, 1927, pp. 145-148.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 299.
Georg Pudelko. "The Stylistic Development of Lorenzo Monaco—I." Burlington Magazine 73 (December 1938), p. 248.
The Lehman Collection. Exh. cat.Cincinnati, 1959, no. 64.
Alvar González-Palacios. "Indagini su Lorenzo Monaco." Paragone 241 (1970), p. 241.
Miklòs Boskovits. Pittura fiorentina alla vigilia del Rinascimento, 1370–1400. Florence, 1975, p. 350.
George Szabó. The Robert Lehman Collection: A Guide. New York, 1975, p. 11, fig. 9.
John Pope-Hennessy assisted by Laurence B. Kanter inThe Robert Lehman Collection. Vol. 1, Italian Paintings. New York, 1987, pp. 168-169, no. 71.
Marvin Eisenberg. Lorenzo Monaco. Princeton, 1989, p. 154.
Laurence B. Kanter inPainting and Illumination in Early Renaissance Florence: 1300–1450. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 250-2, no. 31b.
Anna Bisceglia inLorenzo Monaco: A Bridge from Giotto's Heritage to the Renaissance. Ed. Angelo Tartuferi and Daniela Parenti. Exh. cat., Galleria dell'Accademia. Florence, 2006, p. 160, no. 1.
Artist: Lorenzo Monaco (Piero di Giovanni) (Italian, Florence (?) ca. 1370–1425 Florence (?)) Date: 1408–11Medium: Pen and pale grayish brown ink, brush and pale grayish brown wash (figural scene), pen and pale brown ink, over construction in leadpoint, ruling and compass work (ornamental parts), ruled lines in red ink, notes and words in pen and dark brown ink (musical score), on vellumAccession: 1999.391On view in:Not on view
Artist: Circle of Lorenzo Monaco (Piero di Giovanni) (Italian, Florence (?) ca. 1370–1425 Florence (?)) Date: ca. 1420Medium: Metalpoint, touches of brush and brown wash, heightened with white (partially oxidized in the figure at the lower left), on reddish violet prepared paper. Some lines retraced in pen and brown ink at a later date.Accession: 1975.1.335On view in:Not on view