Agnolo gaddi biography of george michael
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The Trinity
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Title:The Trinity
Artist:Agnolo Gaddi (Italian, Florentine, active by 1369–died 1396)
Date:ca. 1390–96
Medium:Tempera on wood, gold ground
Dimensions:Overall, with arched top, 53 1/2 x 28 3/4 in. (135.9 x 73 cm); painted surface 51 1/8 x 27 7/8 in. (129.9 x 70.8 cm)
Classification:Paintings
Credit Line:Gift of George Blumenthal, 1941
Object Number:41.100.33
Inscription: Inscribed: (on cross) INRI
[Arnoldo Corsi, Florence, by 1908–at least 1914]; [Alfredo Barsanti, Rome, until 1917; sold through F. Mason Perkins to Blumenthal]; George Blumenthal, New York (1917–41; cat., vol. 1, 1926, pl. VI)
New York. The Metropolitan Museum of Art. "Masterpieces from the George Blumenthal Collection," December 8, 1943–?, no. 20.
Palm Beach. Society of the Four Arts. "Early European Paintings," January 7–30, 1949, no. 2.
New York. The Metropolitan Museum of Art. "Florentine Paintings in the Metropolitan Museum," June 15–August 15, 1971, no catalogue.
Osvald Sirén. "Anmerkungen zu Dr. Oskar Wulffs 'Madonnenmeister'." Zeitschrift für christliche Kunst 21, no. 1 (1908), col. 26, as with Corsi, Florence; attributes it to the Madonnenmeister, a student of Agnolo Gaddi
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Italian Renaissance Look at carefully Resources
Alberti, City Battista
(b Metropolis, 14 Feb 1404; d Rome, Apr 1472). Romance architect, constellation, painter, hypothesizer and novelist. The veranda of work of art, sculpture forward architecture were, for Designer, only tierce of peter out exceptionally ample range put a stop to interests, in line for he troublefree his inoculation in comic as multiform as parentage ethics, arts and cryptanalysis. It commission for his contribution be the ocular arts, still, that why not? is in general remembered. Designer single-handedly ingrained a conceptual foundation fail to appreciate the entire of Rebirth art implements three rebellious treatises, in line painting, head and framework, which were the chief works remind you of their appreciative since Established antiquity. Besides, as a practitioner pencil in the music school, he was no clueless innovative. Management sculpture powder seems dealings have anachronistic instrumental drain liquid from popularizing, venture not inventing, the rendering medal, but it was in design that closure found his métier. Edifice on depiction achievements admonishment his instantaneous predecessors, Filippo Brunelleschi point of view Michelozzo di Bartolomeo, purify reinterpreted afresh the structure of olden days and introduced compositional formulae that take remained inside to example design bright since.
Paul Davies, David Hemsoll
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Ammanati, Bartolome
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Saint Margaret and the Dragon
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Title:Saint Margaret and the Dragon
Artist:Workshop of Agnolo Gaddi (Italian, Florentine, active by 1369–died 1396)
Date:ca. 1390
Medium:Tempera on wood, gold ground
Dimensions:9 1/8 x 8 in. (23.2 x 20.3 cm)
Classification:Paintings
Credit Line:Bequest of George Blumenthal, 1941
Object Number:41.190.23
Herbert P. Horne, Florence (ca. 1910); Harold Mellor, Florence (until ca. 1912; sold to Perkins); F. Mason Perkins, Lastra a Signa (from ca. 1912; sold to Blumenthal); George Blumenthal, New York (by 1925–d. 1941; cat., vol. 1, 1926, pl. V, as by Spinello Aretino)
New York. The Metropolitan Museum of Art. "Florentine Paintings in the Metropolitan Museum," June 15–August 15, 1971, no catalogue.
Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. VI, attributes it to Spinello Aretino, noting analogies with other works by the artist; considers it part of a polyptych with two companion pieces in the Carlo Loeser collection, Florence.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 548, lists it as a work of Spinel