Description
Attributed to Francesco BOTTICINI (Florence 1446 - 1498) Holy Conversation: the Virgin and Child between Saints Lawrence, Nicholas, Sebastian and St. Roch Reinforced panel inserted in a rod. Height : 133,5 cm Width : 127 cm (Accidents and missing parts, old restorations). Note of the expert : Devotional panel. Mixed painting on wood panel surrounded by a modern metal frame. On a blue sky background, the Virgin on a throne holding the naked Child in her lap, sits in the center of the composition in front of a monumental architecture in the composition in front of a monumental architecture of Renaissance style. On either side of the throne the four saints four saints are standing. This composition is reminiscent of the large unified altar paintings, which which were very successful in Florence throughout the 15th century. It can be found in several works by Francesco Botticini, such as the panel currently on deposit at Pratovecchio or the one kept at the Jacquemart André Museum in Paris Jacquemart André Museum in Paris dated 1471 (cf. L. Venturini, Francesco Botticini, Florence 1994, figs. 6, 21). We must give credit to this artist for our Holy Conversation, which appears here for the first time and is free of any critical mention. This painter apprenticed in Florence with Neri di Bicci in October 1459, before undergoing the successive influences of Andrea Verrocchio and then Botticelli (cf. F. Petrucci in La Pittura in Italia, Il Quattrocento, vol.II, p. 590). One will find a confirmation of this attribution in the composition, in the stature of the holy characters to the imposing plastic and to the somewhat rigid way of describing the draperies falling in broken folds on the ground. A personal note, very endearing, lies in the whimsical attitude of Botticini's children, plump and restless toddlers who, here, with his who, here, with his scowling air, tries a dialogue with the faithful. A more precise confrontation between the Saint Nicholas and the holy bishop of the left pane of a small triptych currently preserved in Avignon and placed around 1470, confirms our attribution (cf. M. Laclotte, E. Moench, Peinture italienne, Musée du Petit Palais, Avignon 2005, p.83, n.55). It is at this same period that we should probably place this It was probably commissioned by a religious brotherhood whose "orationes" were to ask for help and protection to the two "antipesteous" saints Sebstian and Roch. Expert : cabinet Turquin ref n° 22.513
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Attributed to Francesco BOTTICINI (Florence 1446 - 1498) Holy Conversation: the Virgin and Child between Saints Lawrence, Nicholas, Sebastian and St. Roch Reinforced panel inserted in a rod. Height : 133,5 cm Width : 127 cm (Accidents and missing parts, old restorations). Note of the expert : Devotional panel. Mixed painting on wood panel surrounded by a modern metal frame. On a blue sky background, the Virgin on a throne holding the naked Child in her lap, sits in the center of the composition in front of a monumental architecture in the composition in front of a monumental architecture of Renaissance style. On either side of the throne the four saints four saints are standing. This composition is reminiscent of the large unified altar paintings, which which were very successful in Florence throughout the 15th century. It can be found in several works by Francesco Botticini, such as the panel currently on deposit at Pratovecchio or the one kept at the Jacquemart André Museum in Paris Jacquemart André Museum in Paris dated 1471 (cf. L. Venturini, Francesco Botticini, Florence 1994, figs. 6, 21). We must give credit to this artist for our Holy Conversation, which appears here for the first time and is free of any critical mention. This painter apprenticed in Florence with Neri di Bicci in October 1459, before undergoing the successive influences of Andrea Verrocchio and then Botticelli (cf. F. Petrucci in La Pittura in Italia, Il Quattrocento, vol.II, p. 590). One will find a confirmation of this attribution in the composition, in the stature of the holy characters to the imposing plastic and to the somewhat rigid way of describing the draperies falling in broken folds on the ground. A personal note, very endearing, lies in the whimsical attitude of Botticini's children, plump and restless toddlers who, here, with his who, here, with his scowling air, tries a dialogue with the faithful. A more precise confrontation between the Saint Nicholas and the holy bishop of the left pane of a small triptych currently preserved in Avignon and placed around 1470, confirms our attribution (cf. M. Laclotte, E. Moench, Peinture italienne, Musée du Petit Palais, Avignon 2005, p.83, n.55). It is at this same period that we should probably place this It was probably commissioned by a religious brotherhood whose "orationes" were to ask for help and protection to the two "antipesteous" saints Sebstian and Roch. Expert : cabinet Turquin ref n° 22.513
