{"id":5973,"date":"2012-06-22T11:28:35","date_gmt":"2012-06-22T15:28:35","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=5973"},"modified":"2015-08-05T11:47:46","modified_gmt":"2015-08-05T15:47:46","slug":"rp-23","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/rejected-paintings-sculpture\/rp-23\/","title":{"rendered":"RP.23 Assumption of the Virgin with Saints Thomas, Anthony Abbot, Jacob, and Francis (Madonna della Cintola)"},"content":{"rendered":"
\"\"<\/a>

RP.23 Assumption of the Virgin<\/p><\/div>\n

Volognano (Rignano sull\u2019Arno), San Michele.<\/p>\n

Panel, 280 x 184.<\/p>\n

Fig.RP.23a<\/a>
Fig.RP.23b<\/a> detail, Sts. Thomas and Anthony Abbot
Fig.RP.23c<\/a> detail, St. Jacob<\/p>\n

The surface is abraded, a crack appears from the abdomen of the Virgin to the base of the sarcophagus, and the paint is missing along the bottom edge.\u00a0 It was restored in Florence, 1961-1964.<\/p>\n

LITERATURE:<\/p>\n

Carocci, II, 1907, 65, as manner of Sarto.<\/p>\n

G. Dainelli and G. Poggi, in Toscana<\/em>, 1924, as Granacci (from Berti, 1983, 46).<\/p>\n

Luciano Berti, in Primato del Disegno<\/em>, 1980, 102, 119, Color Pls., 191, no. 450, as Rosso, 1514-1516.<\/p>\n

Brown Butters and Elam, 1980, 355, Fig. 86, 358, as \u201cSarto-like.\u201d<\/p>\n

G. Briganti, in La Repubblica<\/em>, March 18, 1980, apparently as by Rosso, and R. Bellonzi, in Il Tempo<\/em>, April 28, 1980, as not by Rosso (both as reported in Berti, 1983, 59, n. 9).<\/p>\n

Berti, 1983, 46-56, Figs. 1-3, Color Pl. II, as Rosso, around 1514-1516.<\/p>\n

F. Petrucci, in I dintorni di Firenze, arte storia paesaggio<\/em>, Florence, 1983, 143, as Puligo (from Angelini, see below; La Porta, 1992, 32, stated that this opinion was made by Alessandro Conti).<\/p>\n

Berti, 1984, 153, as Rosso, around 1516.<\/p>\n

Darragon in Vasari-Darragon, 1984, 178, as recently attributed to Rosso.<\/p>\n

Wilmes, 1985, 94, as not by Rosso but from the circle of Sarto.<\/p>\n

Antonio Natali, in Sarto<\/em>, 1986, 99, 102, Fig., as shop of Sarto, designed by Sarto, and executed perhaps by Rosso and Pontormo (like the lost predella of the San Gallo Annunciation<\/em>) [L.2].<\/p>\n

Conti, Alessandro, Rignano sull\u2019Arno. tre studi sul patrimonio culturale<\/em>, Florence, 1986, 45-97, reported that in 1966 Marco Chiarini related the picture to Puligo, which Conti proposed again, publishing a document of a \u201cvisita pastorale\u201d of 1539 confirming that the painting was in S. Michele by that time (from La Porta, 1992, 32, 41, ns. 12-13).\u00a0 Angelini, 1986 (1987), 88, as by a pupil of Sarto, with Puligo being more acceptable (than Rosso).<\/p>\n

Paolucci, in Pittura, Cinquecento<\/em>, 1988, I, 300, as probably Rosso\u2019s first work, 1514-1516.<\/p>\n

A. Giovanetti, in Pittura, Cinquecento<\/em>, 1988, II, as hypothetically attributed to Rosso.<\/p>\n

Natali, in Natali and Cecchi, 1989, 7-9, 18, Color Pl., as Sartesque, but difficult to attribute, indicating an \u201cidea iniziale,\u201d by Andrea, and executed a little after 1512 and after a trip to Rome, and perhaps executed partially by Rosso, as suggested by the motifs of St. Thomas and St. Francis and by the angels.<\/p>\n

Ciardi and Mugnaini, 1991, 21, as difficult to attribute to Rosso.<\/p>\n

Forlani Tempesti, 1991, 277, under no. 90, commented that the head of St. James has some analogy to the portrait drawing once attributed to Rosso in the Lehman Collection [RD.25], but the painting ascribed to Rosso is too early \u201cto be evaluated in this context.\u201d<\/p>\n

La Porta, 1992, 32-35, and Figs. 6, 8, 10, 12, as designed by Sarto and executed by Puligo before 1520.<\/p>\n

Berti, 1993, 184, Color Fig., as from Sarto\u2019s shop with the prevalent intervention of Rosso and as still convinced of Rosso\u2019s authorship, c. 1512-1514.<\/p>\n

Franklin, 1994, 8, 271, n. 26, as little to recommend it as by Rosso.<\/p>\n

Costamagna, 1994, 78, 98, ns. 49-50, as from Sarto\u2019s shop around 1525-1530, suggesting Foschi, Jacone and Jacopino, and above all Salviati and Vasari.<\/p>\n

 <\/p>\n

Brown Butters and Elam recognized the painting as \u201cSarto-like\u201d and thought it \u201clooks almost too confident for the artist of the SS. Annunziate Assumption<\/em>…\u201d\u00a0 They went on to say: \u201cWhile it is hard to suggest an alternative attribution from Sarto\u2019s circle for such an outstanding work, it must nevertheless be noted that if this is early Rosso, Vasari\u2019s account of his contrary refusal to follow any prevailing style was wide of the mark.\u201d\u00a0 Bellonzi thought it a \u201cpittura modestissima\u201d without \u201cgli eroici furori disegni e coloristici\u201d of Rosso.\u00a0 These remarks seem to me much to the point.\u00a0 The Volognano altarpiece is a modest work clearly by a rather academic Sartesque cast without any of the spirit of Rosso\u2019s art from any moment in his career.<\/p>\n

The description and arrangement of the full-length standing cherubs recall what appears in Sarto\u2019s Assumption<\/em> in the Pitti, Florence (no. 191), done between 1522 and 1525,1<\/sup><\/a> while the kneeling and seated cherubs closely resemble those in the Madonna in Glory with Four Saints (Assunta di Poppi)<\/em>, also in the Pitti (no. 123), begun by Sarto in 1529 and finished by Morgante Bonilli da Poppi in 1540.2<\/sup><\/a>\u00a0 The cherubs in both of these pictures have a very similar prettiness.\u00a0\u00a0 A similar if not identical sweetness appears in the Christ Child and cherubs in the Madonna delle Grazie<\/em> in the Cathedral of Pisa begun by Sarto in 1530 and largely painted later by Sogliani.3<\/sup><\/a> The Volognano painting seems to be a work done after Sarto\u2019s death.\u00a0 Its lack of robustness in form and composition indicate that it is not based on a Sarto design, nor does it seem to have been executed by more than one hand, as suggested by Natali.\u00a0 The proposal of Puligo as the painter of the altarpiece, on a design by Sarto or not, while made by several critics does not seem right to me. \u00a0\u00a0<\/p>\n

\n
\n
\n

<\/a>1<\/sup> Freedberg, 1963, I, 60-62, Fig. 119, II, 112-120, no. 52.<\/p>\n<\/div>\n

<\/a>2<\/sup> Freedberg, 1963, I, 93, Fig. 232, II, 194-196, no. 88.<\/div>\n
\n

<\/a>3<\/sup> Freedberg, 1963, I, 93, Fig. 237, II, 198-199, no. 90.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Volognano (Rignano sull\u2019Arno), San Michele. Panel, 280 x 184. Fig.RP.23a Fig.RP.23b detail, Sts. Thomas and Anthony Abbot Fig.RP.23c detail, St. Jacob The surface is abraded, a crack appears from the abdomen of the Virgin to the base of the sarcophagus, and the paint is missing along the bottom edge.\u00a0 It was restored in Florence, 1961-1964. […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":1357,"menu_order":24,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5973","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/5973","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/comments?post=5973"}],"version-history":[{"count":13,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/5973\/revisions"}],"predecessor-version":[{"id":11534,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/5973\/revisions\/11534"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/1357"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=5973"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}