Madonna and Child

about 1300-1310

Master of Badia a Isola (Italian, active about 1280–early 1320s)

2009.52

On display in C205

egg tempera gilding panels wood painting

Link copied

Artwork Details

Artist

Master of Badia a Isola (Italian, active about 1280–early 1320s)

Creation Date

about 1300-1310

Materials

egg tempera and gilding on wood panel

Object Types

paintings, tempera paintings

Dimensions

approximately 25 x 21-5/16 x 2-1/4 in.

Accession Number

2009.52

Credit Line

The Clowes Collection

Copyright

Public Domain

Collection

European Painting and Sculpture Before 1800

Color Palette

Color Codes Copied

Provenance

Archduke Franz Ferdinand, Konopiste Castle, near Prague, Czechoslovakia, probably by 1914.{1} Count Sighard von Enzenberg, Schloss Tratzberg, Austria, probably before 1914.{2} (E. and A. Silberman Galleries, New York, New York); Dr. George Henry Alexander Clowes [1877-1958], Indianapolis, Indiana, by 1936;{3} The Clowes Fund Collection, Indianapolis Museum of Art, 1958-present. {1} This provenance information is included in the exhibition catalogue Art unites Nations, E. and A. Silberman Galleries, New York, 1957, no. 1 (illustration). {2} See Paintings from the Collection of George Henry Alexander Clowes: A Memorial Exhibition, John Herron Art Museum, Indianapolis, Indiana (now the Indianapolis Museum of Art at Newfields), 1959, catalogue no. 21 (illustration) It is identified as being in the von Enzenberg Collection by Hilde Weigelt, "Madonna mit Kind von Segna de Bonaventura," Pantheon, XVIII, 1936, p. 258 (illustration) {3} It was published with a Clowes Collection credit line in Raimond van Marle, "Two unknown paintings by Duccio de Buoninsegna," Apollo, October 1936, p. 214. G.H.A. Clowes purchased many paintings from E. and A. Silberman Galleries, New York.

Gallery Labels

This anonymous artist, named after an altarpiece in Badia a Isola (near Siena), may have been active in the workshop of Duccio, one of the most important Italian painters of the late thirteenth to early fourteenth century. His work blends progressive stylistic elements, such as the subtle tonal modeling of the faces and hands, with the persistent conservatism of the patterned gold striations in the Virgin’s robe. This Byzantine technique was widely applied in Italian painting before Duccio introduced a more naturalistic, three-dimensional style in the mid-1280s.

More from the Collection

Content Disclaimer and Usage Rights

Metadata about the Indianapolis Museum of Art’s collection comes from Newfields’ records and research. In some cases, information may be incomplete and research is ongoing. Newfields’ goal is to have as up-to-date metadata as possible, therefore, this information is subject to change. Newfields collections’ metadata is available under a Creative Commons Zero (CC0) waiver, which allows for re-use without legal restrictions.

Artworks that appear in the image file(s) above may be in copyright or have other legal and/or cultural restrictions to their use. For clarity, Newfields does not claim copyright to the image files created by Newfields of artworks in the Indianapolis Museum of Art’s collection. Newfields makes every effort to ascertain the copyright status of artworks in the Indianapolis Museum of Art’s collection. Please refer to the RightsStatements.org statement above for information about the current copyright status of the artwork. Additionally, some artworks may include Local Context’s Notices or Labels that attribute cultural authority of the artwork’s heritage and data.

Additional information about Newfields’ reproduction guidelines can be found in the Licensing Resources.

DiscoverNewfields.org

Licensing Resources

4000 Michigan Road, Indianapolis, Indiana, USA 46208-3326 | 317-923-1331

This project was made possible in part by the Institute of Museum and Library Services [MA-251861-OMS-22].