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The Assumption of the Virgin with Busts of the Archangel Gabriel and the Virgin of the Annunciation
Paolo di Giovanni Fei·c. 1400/1405
Historical Context
Paolo di Giovanni Fei painted this Assumption of the Virgin with busts of the Archangel Gabriel and the Virgin of the Annunciation around 1400-05, a complex devotional composition from the Sienese Gothic tradition. Fei was a prominent Sienese painter who maintained the rich decorative traditions of the school of Simone Martini and the Lorenzetti into the early fifteenth century. The combination of Assumption and Annunciation imagery creates a comprehensive Marian devotional program.
Technical Analysis
Fei's tempera on panel demonstrates the elaborate Sienese Gothic technique with rich gold tooling, decorative patterns, and the graceful linear rhythm inherited from Simone Martini. The luminous colors and the elegant figure drawing maintain the highest standards of the Sienese devotional tradition.
Provenance
Marchese Bonaventura Chigi Zondadari [1841-1908], Siena, by 1904;[1] his heirs; (Alberto Riccoboni, Italy), by 1947 or 1948;[2] (Count Alessandro Contini Bonacossi, Florence); sold 1948 to the Samuel H. Kress Foundation, New York;[3] gift 1961 to NGA. [1] Robert Langton Douglas (“The Exhibition of Early Art in Siena,” _The Nineteenth Century and After_ 57 [1904]: 763; James Archer Crowe and Giovanni Battista Cavalcaselle, _A History of Painting in Italy_, ed. Robert Langton Douglas, 6 vols., London, 1903-1914: 3(1908): 131 n. 3) and F. Mason Perkins (“Dipinti senesi sconosciuti o inediti,” _Rassegna d’Arte antica e moderna_ 1 (1914): 99) confirm his ownership. Various authors, through Bernard Berenson (_Pitture italiane del Rinascimento_, Milan, 1936: 159), continued to mention that the painting belonged to the Chigi Zondadari family. [2] The dealer Alberto Riccoboni (_Quattrocento Pitture Inedite_, exh. cat., Venice, 1947: 5) gives no ownership; presumably the painting still belonged to the Chigi Zondadari family at the time and was only entrusted to Riccoboni for sale in the following year. [3] The Kress Foundation made an offer to Contini Bonacossi on 7 June 1948 for a group of twenty-eight paintings, including this one; the offer was accepted on 11 July 1948 (see copies of correspondence in NGA curatorial files, see also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/2077).
See It In Person
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