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来自中世纪的温情
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来自中世纪的温情
纽约名画旁观记——杜乔《圣母子》
尽管经常去大都会博物馆，有时候还是需要问路，我问一个穿着制服的保安，“请问杜乔在哪里？”保安先生非常兴奋地带我到杜乔的《圣母子》前面说，这就是那幅45Million的画。
"你知道吗？我就是意大利人。"言谈中透着兴奋和骄傲，因为杜乔就是来自意大利的Siena。保安名叫安德鲁，来自西西里岛。那是教父的家乡啊。于是我和他一起轻轻哼起了西西里之歌。然后，安德鲁走开，让我静静地看画。过了一会，安德鲁过来说，这里还有一幅乔托，不要忘了。
4500万美元，这是大都会博物馆历史上购买的最昂贵绘画作品，是菲利普·蒙迪贝罗担任馆长期间于2004年购买的重量级作品，曾经在前年大都会博物馆纪念蒙迪贝罗退休的特展中展出。2006年，该画被哥伦比亚大学美术史教授James Beck质疑为伪作。
上图来自大都会博物馆网站，下面图片为现场实拍。
大都会博物馆说明：
Artist Duccio di Buoninsegna (Italian, active by 1278–died 1318 Siena)
TitleMadonna and Child
Dateca. 1300
MediumTempera and gold on wood
DimensionsOverall, with engaged frame, 11 x 8 1/4 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm)
ClassificationPaintings
Credit LinePurchase,
Rogers Fund, Walter and Leonore Annenberg and The Annenberg Foundation
Gift, Lila Acheson Wallace Gift, Annette de la Renta Gift, Harris
Brisbane Dick, Fletcher, Louis V. Bell, and Dodge Funds, Joseph Pulitzer
Bequest, several members of The Chairman's Council Gifts, Elaine L.
Rosenberg and Stephenson Family Foundation Gifts, 2003 Benefit Fund, and
other gifts and funds from various donors, 2004
Accession Number2004.442
（以下来自维基百科）
Duccio
 Maestà with Twenty Angels and Nineteen Saints |
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| c. 1255-1260 Siena, Italy |
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| c. 1318-1319 Siena, Italy |
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| Painting | |
| Sienese School | |
| Maestà with Twenty Angels and Nineteen Saints (1308-1311) | |
Duccio di Buoninsegna (c. 1255-1260 – c. 1318-1319) was one of the most influential Italian artists of his time. Born in Siena, Tuscany, he worked mostly with pigment and egg tempera and like most of his contemporaries painted religious subjects. He influenced Simone Martini and the brothers Ambrogio and Pietro Lorenzetti, among others.
His works include the Rucellai Madonna (1285) for Santa Maria Novella (now in the Uffizi) and the fabled Maestà (1308–11), his masterpiece, for Siena's cathedral. The centre of the Maestà depicts the Virgin and Child enthroned and surrounded by angels and saints. He also painted a work known as the Stoclet Madonna, the name stemming from its previous ownership by Stoclet in his collection in Brussels. The Madonna, painted on a wooden panel around the year 1300, was purchased in November 2004 by the Metropolitan Museum of Art in New York City for an estimated sum of 45 million USD, the most expensive purchase ever by the museum. In 2006 James Beck, a scholar at Columbia University, stated that he believes the painting is a nineteenth century forgery; the Metropolitan Museum's curator of European Paintings has disputed Beck's assertion.[1]
[edit] Known surviving works
See also Category: Duccio paintings
- Madonna with Child - Tempera and gold on wood, Museo d'arte sacra della Val d'Arbia, Buonconvento, near Siena,
- Madonna with Child and two Angels (Also known as the Crevole Madonna; c. 1280) - Tempera and gold on wood, Museo dell'Opera Metropolitana, Siena
- Madonna with Child enthroned and six Angels (c. 1285) - Also known as the Rucellai Madonna / Madonna Rucellai - Tempera and gold on wood, Galleria degli Uffizi, Florence, Italy (on deposit from Santa Maria Novella)
- Crucifix - Tempera on wood, Odescalchi Collection, Rome, formerly in the Castello Orsini at Bracciano
- Crucifix of San Francesco in Grosseto (1289), - Grosseto, Church of San Francesco
- Madonna of the Franciscans (c. 1300) - Tempera and gold on wood, Pinacoteca Nazionale, Siena
- Assumption, Burial and Crowning of the Virgin - Stained glass window, Siena Cathedral
- Maestà - Tempera and gold on wood - Kunstmuseum, Bern, Switzerland
- Madonna and Child - Tempera and gold on wood, Metropolitan Museum of Art, New York (formerly in the Stoclet Collection, Brussels, Belgium)
- Madonna with Child and six Angels - Tempera and gold on wood, Galleria Nazionale dell'Umbria, Perugia, Italy
- Polyptych: Madonna and Child with Saints Augustine, Paul, Peter, Dominic, four angels and Christ blessing (also known as Dossale no. 28; c. 1305) - Tempera and gold on wood, Pinacoteca Nazionale, Siena
- Polyptych no. 47: Madonna and Child with Saints Agnes, John the Evangelist, John the Baptist, and Mary Magdalene; ten Patriarchs and Prophets, with Christ blessing - Tempera and gold on wood, Pinacoteca Nazionale, Siena
- The Surrender of the Castle of Giuncarico - Fresco, Palazzo Pubblico, Siena
- Maestà with Episodes from Christ's Passion - Tempera and gold on wood,- Duomo, Massa Marittima, Italy
- Small Triptych: Flagellation of Christ; Crucifixion with Angels; Deposition in the Tomb - Tempera and gold on wood, Società di Esecutori di Pie Deposizioni, Siena
- Small Triptych: Madonna and Child with four Angels, Saints Dominic, Agnes and seven Prophets / Madonna con Bambino e con quattro angeli, i santi Domenico, Agnese, e sette profeti - Tempera and gold on wood - The National Gallery, London, England
- Portable Altarpiece: Crucifixion with Christ blessing; St Nicholas; St Gregory - Tempera and gold on wood, Museum of Fine Arts, Boston, USA
- Small Triptych: Crucifixion with Angels; Annunciation and Madonna with Child and Angels; Stigmata of St Francis with Madonna and Christ enthroned - Tempera and gold on wood, Royal Collections, Hampton Court, near London, England
- Maestà (Madonna with Child Enthroned and Twenty Angels and Nineteen Saints) - Tempera and gold on wood, Museo dell'Opera Metropolitana, Siena
- Maestá (The Temptation of Christ on the Mountain) - Tempera and gold on wood - The Frick Collection, New York, USA
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发表评论 评论 (5 个评论)
- 回复 gongxiaoyu12
- 圣母子给人的感觉很有母爱的温暖
- 回复 rubin
- James Beck在伦敦The Times发表的质疑报道全文：
From The Times
July 6, 2006
$50m ‘masterpiece‘ is poor forgery, says arts professor
Graphic: is this painting by Duccio?
By Dalya Alberge, Arts Correspondent
A PAINTING that was hailed as a 14th-century masterpiece when it was bought last year by the Metropolitan Museum of Art in New York for a reported $50 million is a 19th-century fake in the view of a leading American scholar.
James Beck, Professor of Art History at Columbia University in New York, believes that Duccio’s Madonna and Child, which the Met dates to 1300, is the work of a much later hand. He says that it could never have come from the hand of a towering genius considered, with Giotto, to have been a principal founder of Western European painting.
“It is a fake based upon indications found in works by or associated with Duccio,” he said. “It is not even a good forgery.”
Barely a dozen of Duccio’s works survive. They include his Maestà (Madonna with Angels and Saints) altarpiece, which dates from 1308-11, in the museum of Siena Cathedral; it is considered a milestone of Western art.
Professor Beck pointed to the “low quality” of the Met’s painting — notably the Child’s raised arm and hand, “which appears like a stump”, and its “gourd-like head, which is quite at odds with confirmed and documented paintings by Duccio”.
That the painting shows the Madonna and Child behind a parapet is the most compelling proof that the painting “cannot be genuine”, he believes, dismissing the claim by Keith Christiansen, the Met’s curator, that it is “the first illusionistic parapet in European art”.
Professor Beck said: “We are asked to believe that the modest little picture represents a leap into the future of Western painting by establishing a plane in front of Mary and the Child. This feature, a characteristic of Renaissance not Medieval pictures, occurs only a hundred years after the presumptive date of the picture . . .
“Devastating to the Met’s claims is the fact that no other examples with the combination of elements — Madonna and Child with a space-defining parapet — are found among the confirmed works by Duccio or his followers, or in all of Tuscany, for that matter.”
Whoever produced the painting, Professor Beck suggested, knew the Renaissance system of depicting space and planes. “The artist or forger must have worked up this idea from hindsight rather than foresight.”
In September he will be publishing his conclusions in a book, The Crisis of Connoisseurship: from Duccio to Raphael.
Mr Christiansen said that leading scholars had confirmed the attribution and that Professor Beck was wrong. “What everyone else sees as a sign of quality and innovation, he sees as weakness. There is no reason to doubt the period and authenticity of the picture.”
Professor Beck has never been afraid to voice his opinion. As president of ArtWatch International, which campaigns for the welfare of works of art, he has also dismissed The Madonna of the Pinks, the £35 million Raphael at the National Gallery, as a copy.
