The Crucifixion
Taddeo di Bartolo·1401–04
Historical Context
Taddeo di Bartolo painted this Crucifixion between 1401 and 1404, reflecting his position as one of the leading painters of Siena at the turn of the fifteenth century. Taddeo maintained the rich devotional tradition of Sienese painting established by Duccio and the Lorenzetti brothers, producing altarpieces for churches across Tuscany and beyond. His Crucifixion scenes combine the emotional intensity of the Passion with the refined, decorative qualities prized in Sienese art.
Technical Analysis
The tempera on panel demonstrates the Sienese school's characteristic emphasis on line, pattern, and emotional expression. The gold ground and the elegant figure drawing maintain the traditions of Duccio and Simone Martini, while the dramatic arrangement of mourning figures around the cross creates powerful devotional impact.
Provenance
John Rushout, second Baron Northwick, Thirlestane House, Cheltenham, by 1857 (according to the 1857 Manchester exhibition catalogue); sold Phillips at Thirlestane House, August 18, 1859, no. 1467, as Giotto, to Cox, Berners Street, for 13 guineas (according to 1859 Northwick collection catalogue, p. 20); Canon A. F. Sutton, Brant Broughton, by 1909 (according to Bernard Berenson, The Central Italian Painters of the Renaissance, 2d ed., New York and London, 1909, p. 256); sold Sotheby’s, London, June 25, 1924, no. 33 (ill.), as Giotto, to Oliver for £460 (according to annotated sales catalogue in the Thomas J. Watson Library, The Metropolitan Museum of Art, New York); Robert Langton Douglas, London, 1924; sold by Langton Douglas to Martin A. Ryerson (d. 1932), Chicago, 1924 (according to a letter from Robert Langton Douglas to Martin A. Ryerson of November 11, 1924, and a receipt dated November 18, 1924, in the Ryerson papers, Archives, The Art Institute of Chicago); on loan to the Art Institute from 1924; bequeathed to the Art Institute, 1933.
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