2005
Maestro del Tondo BorgheseThe Adoration of the ChildOil on panel (parquetted). Diameter 85 cm.
In Fine Art
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Köln
Beschreibung
Maestro del Tondo Borghese
Anbetung des Kindes
Öl auf Holz (parkettiert). Durchmesser 85 cm.
Gutachten
Prof. Dr. Gaudenz Freuler, April 2020.
Provenienz
Collection Dampierre (Siegel auf der Rückseite). - Skandinavische Privatsammlung.
Literatur
Zitierte Literatur: H. Ulmann: Piero di Cosimo, in: Jahrbuch der Königlichen Preussischen Kunstsammlungen, XVII, 1896, S.139. G. De Francovich: Appunti su alcuni minori pittori fiorentini della seconda metà del secolo XV, in: Bolletino d’ Arte,VI,1926/27, p.535-540
Lisa Venturini, in: Maestri e Botteghe.Pittura a Firenze alla Fine del Quattrocento, (exh.cat. Florence Palazzo Strozzi 16.10 1992- 10.1.1993) Cinisello Balsamo 1992, S. 283-289.
Das hier präsentierte florentinische Rundbild zur privaten Andacht zeigt in einer intimen Idylle die Heilige Familie anlässlich der Geburt Christi. Während der greise Joseph nachdenklich in sich zurückgezogen scheint, betet die Muttergottes ihr göttliches Kind an, das mit munterer Gebärdensprache mit ihr kommuniziert. Im Bildhintergrund weist eine wunderliche Himmelserscheinung in Form des sich inkarnierenden Kindes den auf einem Hügel ihre Schafe weidenden Hirten den Weg zum neu geborenen Erlöserkind. Dieses hat der sich den Hügel herabwindende Tross der Heiligen Drei Könige samt einer aufgescheuchten Giraffe bereits gefunden.
Vorliegende meditative Schilderung des Weihnachtsmysteriums beruht auf einer von Filippo Lippi angeregten Bildvorlage, wie sie von Domenico Ghirlandaio und in der Werkstatt des Florentiners Cosimo Rosselli (1439-1507) und von den Künstlern aus seinem Umkreis variierend verschiedentlich ins Bild gesetzt wurde. Die stilistischen und ikonographischen Bezüge zu Cosimo Rossellis Kunst sind hier unverkennbar, zumal dessen Figurenrepertoire hier in eine Kunstsprache umgesetzt wurde, die sich mit jenem Künstler verbindet, dessen Werkkatalog 1896 und 1927 erstmals von Ulmann (Ulmann 1896, S. 139) und G. De Francovich (G. De Francovich, 1926/27 S. 535-540) herauskristallisiert wurde. Die Kunst dieses unbekannten Malers ist unverkennbar geprägt von der Kunst seiner Zeitgenossen Domenico Ghirlandaio (1448-1494) und besonders Cosimo Rosselli.
Aufgrund der künstlerischen Verbindung zu eben diesen Malern glaubten die beiden erwähnten Kunsthistoriker den in Rede stehenden anonymen Künstler mit einem gewissen Jacopo del Tedescho identifizieren zu können, zumal dieser von Giorgio Vasari als einer der Schüler Ghirlandaios erwähnt wurde (G. Vasari, 1568, ed. 1878/1906). Dieser Vorschlag wurde jedoch später von Everett Fahy mangels stringenter Indizien abgelehnt. Er beliess den betreffenden Maler in der Anonymität und benannte ihn nach dessen Tondo mit der Anbetung des Kindes in der Galleria Borghese in Rom "Meister des Borghese Tondo" (Fahy 1976, S. 167-168). Stilistisch engst verknüpft mit dem Werk dieses anonymen Florentiners ist auch das vorliegende Rundbild mit der Anbetung des Kindes durch die Heilige Familie einschliesslich des Täuferknaben.
Wie erwähnt, repräsentiert unser Bild eine beliebte Bilderfindung des Cosimo Rosselli, wie sie in ähnlicher Form in dessen Rundbild im Reichsmuseum in Amsterdam vorgebildet ist. Diese Bildlösung, die sich offenbar einer grösseren Beliebtheit erfreute, wurde von unserem Maler verschiedentlich repliziert, so auch im Namen gebenden Rundbild in der Galleria Borghese in Rom und einem weiteren Tondo in Privatbesitz
Wenngleich der Madonnentypus unseres Bildes sich eng an die Vorgaben des Cosimo Rosselli und Ghirlandaios anschliesst, sind die Stilisierungen der Binnenformen in der Gesichtsbildung des Madonnengesichts jedoch unverkennbar jene, die sich mit dem Werk des Meister des Tondo Borghese verbinden. Dieser Maler muss sich künstlerisch an den revolutionären Entwicklungen in der Werkstatt Verrocchio's (1435-1488) namentlich an den dort zeitweilig tätigen Malern, insbesondere an Domenico Ghirlandaio formiert haben. Womöglich wirkte er zu Beginn der 1480 er Jahre innerhalb einer Werkstatt eines dieser Maler - womöglich Domenico Ghirlandaios oder Cosimo Rossellis - in Rom an der Freskierung der Sixinischen Kapelle mit. Diese Erfahrung innerhalb eines Malerkollektives der damals besten italienischen Renaissance Maler dürfte sein Frühwerk bestimmt haben, während er sich in der Folge mehrheitlich Cosimo Rosselli zuwandte - vielleicht ein I
Maestro del Tondo Borghese
The Adoration of the Child
Oil on panel (parquetted). Diameter 85 cm.
Certificate
Prof Dr Gaudenz Freuler, April 2020.
Provenance
Collection Dampierre (according to a label on the reverse). - Scandinavian private collection.
Literature
Quoted literature: H. Ulmann, «Piero di Cosimo», in: Jahrbuch der Königlichen Preussischen Kunstsammlungen, XVII, 1896, p.139; G. De Francovich, “Appunti su alcuni minori pittori fiorentini della seconda metà del secolo XV”, in Bolletino d’ Arte,VI,1926/27, p.535-540
Lisa Venturini, in: Maestri e Botteghe.Pittura a Firenze alla Fine del Quattrocento, (exh.cat. Florence Palazzo Strozzi 16.10 1992- 10.1.1993) Cinisello Balsamo 1992, p. 283-289.
This tondo was painted in Florence as a private devotional image. It shows the holy family in an idyllic and intimate scene at the birth of Christ. Whilst Saint Joseph, shown as an older man, appears pensive and withdrawn, the Virgin Mary praises her divine child whilst he in turn communicates with her through lively gestures. In the background of the work, we see a peculiar apparition in the sky in the form of the child incarnated appearing to the shepherds grazing their flocks on a hill, telling them to make their way to visit the new born saviour. The apparition has already visited the three kings, whose procession we see coming over the hill, accompanied by a startled giraffe.
This peaceful depiction of the Christmas mystery is based on a composition by Filippo Lippi, which was reiterated by Domenico Ghirlandaio, the Florentine workshop of Cosimo Rosselli (1439-1507) and many other artists from their circle. The stylistic and iconographic references to the work of Cosimo Rosselli are unmistakable in this piece. His figural repertoire has here been translated into a stylistic vocabulary most comparable to that of an artist whose oeuvre was outlined for the first time in catalogue raisonnés of 1896 and 1927 by Ulmann (Ulmann 1896, p. 139) and G. De Francovich (G. De Francovich, 1926/27 p. 535-540). The anonymous master's style is undeniably influenced by the works of his contemporaries Domenico Ghirlandaio (1448-1494) but especially Cosimo Rosselli.
The stylistic parallels to the above mentioned artists led Ulmann and De Francovich to identify the unknown painter with a certain Jacopo del Tedescho, who Giorgio Vasari mentions as a pupil of Ghirlandaio (G. Vasari, 1568, ed. 1878/1906). However, this theory was later refuted by Everett Fahy due to the lack of conclusive evidence. The painter thus remained anonymous and he was assigned a notname based on his tondo with the adoration of the Christ Child in the Galleria Borghese in Rome: “Master of the Borghese Tondo” (Fahy 1976, p. 167-168). The present tondo depicting the adoration of the child by the holy family and the young John the Baptist is another work that displays strong stylistic parallels to the pieces assigned to this anonymous Florentine artist. As mentioned previously, the work is based on a popular composition by Cosimo Rosselli, which can be seen in a similar version in his tondo in the Rijksmuseum in Amsterdam. This pictorial form, which was apparently highly sought-after, was reproduced numerous times by the present artist in various versions, including the eponymous tondo in the Galleria Borghese and a further tondo in private ownership.
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Maestro del Tondo Borghese
Anbetung des Kindes
Öl auf Holz (parkettiert). Durchmesser 85 cm.
Gutachten
Prof. Dr. Gaudenz Freuler, April 2020.
Provenienz
Collection Dampierre (Siegel auf der Rückseite). - Skandinavische Privatsammlung.
Literatur
Zitierte Literatur: H. Ulmann: Piero di Cosimo, in: Jahrbuch der Königlichen Preussischen Kunstsammlungen, XVII, 1896, S.139. G. De Francovich: Appunti su alcuni minori pittori fiorentini della seconda metà del secolo XV, in: Bolletino d’ Arte,VI,1926/27, p.535-540
Lisa Venturini, in: Maestri e Botteghe.Pittura a Firenze alla Fine del Quattrocento, (exh.cat. Florence Palazzo Strozzi 16.10 1992- 10.1.1993) Cinisello Balsamo 1992, S. 283-289.
Das hier präsentierte florentinische Rundbild zur privaten Andacht zeigt in einer intimen Idylle die Heilige Familie anlässlich der Geburt Christi. Während der greise Joseph nachdenklich in sich zurückgezogen scheint, betet die Muttergottes ihr göttliches Kind an, das mit munterer Gebärdensprache mit ihr kommuniziert. Im Bildhintergrund weist eine wunderliche Himmelserscheinung in Form des sich inkarnierenden Kindes den auf einem Hügel ihre Schafe weidenden Hirten den Weg zum neu geborenen Erlöserkind. Dieses hat der sich den Hügel herabwindende Tross der Heiligen Drei Könige samt einer aufgescheuchten Giraffe bereits gefunden.
Vorliegende meditative Schilderung des Weihnachtsmysteriums beruht auf einer von Filippo Lippi angeregten Bildvorlage, wie sie von Domenico Ghirlandaio und in der Werkstatt des Florentiners Cosimo Rosselli (1439-1507) und von den Künstlern aus seinem Umkreis variierend verschiedentlich ins Bild gesetzt wurde. Die stilistischen und ikonographischen Bezüge zu Cosimo Rossellis Kunst sind hier unverkennbar, zumal dessen Figurenrepertoire hier in eine Kunstsprache umgesetzt wurde, die sich mit jenem Künstler verbindet, dessen Werkkatalog 1896 und 1927 erstmals von Ulmann (Ulmann 1896, S. 139) und G. De Francovich (G. De Francovich, 1926/27 S. 535-540) herauskristallisiert wurde. Die Kunst dieses unbekannten Malers ist unverkennbar geprägt von der Kunst seiner Zeitgenossen Domenico Ghirlandaio (1448-1494) und besonders Cosimo Rosselli.
Aufgrund der künstlerischen Verbindung zu eben diesen Malern glaubten die beiden erwähnten Kunsthistoriker den in Rede stehenden anonymen Künstler mit einem gewissen Jacopo del Tedescho identifizieren zu können, zumal dieser von Giorgio Vasari als einer der Schüler Ghirlandaios erwähnt wurde (G. Vasari, 1568, ed. 1878/1906). Dieser Vorschlag wurde jedoch später von Everett Fahy mangels stringenter Indizien abgelehnt. Er beliess den betreffenden Maler in der Anonymität und benannte ihn nach dessen Tondo mit der Anbetung des Kindes in der Galleria Borghese in Rom "Meister des Borghese Tondo" (Fahy 1976, S. 167-168). Stilistisch engst verknüpft mit dem Werk dieses anonymen Florentiners ist auch das vorliegende Rundbild mit der Anbetung des Kindes durch die Heilige Familie einschliesslich des Täuferknaben.
Wie erwähnt, repräsentiert unser Bild eine beliebte Bilderfindung des Cosimo Rosselli, wie sie in ähnlicher Form in dessen Rundbild im Reichsmuseum in Amsterdam vorgebildet ist. Diese Bildlösung, die sich offenbar einer grösseren Beliebtheit erfreute, wurde von unserem Maler verschiedentlich repliziert, so auch im Namen gebenden Rundbild in der Galleria Borghese in Rom und einem weiteren Tondo in Privatbesitz
Wenngleich der Madonnentypus unseres Bildes sich eng an die Vorgaben des Cosimo Rosselli und Ghirlandaios anschliesst, sind die Stilisierungen der Binnenformen in der Gesichtsbildung des Madonnengesichts jedoch unverkennbar jene, die sich mit dem Werk des Meister des Tondo Borghese verbinden. Dieser Maler muss sich künstlerisch an den revolutionären Entwicklungen in der Werkstatt Verrocchio's (1435-1488) namentlich an den dort zeitweilig tätigen Malern, insbesondere an Domenico Ghirlandaio formiert haben. Womöglich wirkte er zu Beginn der 1480 er Jahre innerhalb einer Werkstatt eines dieser Maler - womöglich Domenico Ghirlandaios oder Cosimo Rossellis - in Rom an der Freskierung der Sixinischen Kapelle mit. Diese Erfahrung innerhalb eines Malerkollektives der damals besten italienischen Renaissance Maler dürfte sein Frühwerk bestimmt haben, während er sich in der Folge mehrheitlich Cosimo Rosselli zuwandte - vielleicht ein I
Maestro del Tondo Borghese
The Adoration of the Child
Oil on panel (parquetted). Diameter 85 cm.
Certificate
Prof Dr Gaudenz Freuler, April 2020.
Provenance
Collection Dampierre (according to a label on the reverse). - Scandinavian private collection.
Literature
Quoted literature: H. Ulmann, «Piero di Cosimo», in: Jahrbuch der Königlichen Preussischen Kunstsammlungen, XVII, 1896, p.139; G. De Francovich, “Appunti su alcuni minori pittori fiorentini della seconda metà del secolo XV”, in Bolletino d’ Arte,VI,1926/27, p.535-540
Lisa Venturini, in: Maestri e Botteghe.Pittura a Firenze alla Fine del Quattrocento, (exh.cat. Florence Palazzo Strozzi 16.10 1992- 10.1.1993) Cinisello Balsamo 1992, p. 283-289.
This tondo was painted in Florence as a private devotional image. It shows the holy family in an idyllic and intimate scene at the birth of Christ. Whilst Saint Joseph, shown as an older man, appears pensive and withdrawn, the Virgin Mary praises her divine child whilst he in turn communicates with her through lively gestures. In the background of the work, we see a peculiar apparition in the sky in the form of the child incarnated appearing to the shepherds grazing their flocks on a hill, telling them to make their way to visit the new born saviour. The apparition has already visited the three kings, whose procession we see coming over the hill, accompanied by a startled giraffe.
This peaceful depiction of the Christmas mystery is based on a composition by Filippo Lippi, which was reiterated by Domenico Ghirlandaio, the Florentine workshop of Cosimo Rosselli (1439-1507) and many other artists from their circle. The stylistic and iconographic references to the work of Cosimo Rosselli are unmistakable in this piece. His figural repertoire has here been translated into a stylistic vocabulary most comparable to that of an artist whose oeuvre was outlined for the first time in catalogue raisonnés of 1896 and 1927 by Ulmann (Ulmann 1896, p. 139) and G. De Francovich (G. De Francovich, 1926/27 p. 535-540). The anonymous master's style is undeniably influenced by the works of his contemporaries Domenico Ghirlandaio (1448-1494) but especially Cosimo Rosselli.
The stylistic parallels to the above mentioned artists led Ulmann and De Francovich to identify the unknown painter with a certain Jacopo del Tedescho, who Giorgio Vasari mentions as a pupil of Ghirlandaio (G. Vasari, 1568, ed. 1878/1906). However, this theory was later refuted by Everett Fahy due to the lack of conclusive evidence. The painter thus remained anonymous and he was assigned a notname based on his tondo with the adoration of the Christ Child in the Galleria Borghese in Rome: “Master of the Borghese Tondo” (Fahy 1976, p. 167-168). The present tondo depicting the adoration of the child by the holy family and the young John the Baptist is another work that displays strong stylistic parallels to the pieces assigned to this anonymous Florentine artist. As mentioned previously, the work is based on a popular composition by Cosimo Rosselli, which can be seen in a similar version in his tondo in the Rijksmuseum in Amsterdam. This pictorial form, which was apparently highly sought-after, was reproduced numerous times by the present artist in various versions, including the eponymous tondo in the Galleria Borghese and a further tondo in private ownership.
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