Overview

No overview available.

Inscription

upper right under paint layer on wall of Hotel-Dieu: [L?]oste..

Marks and Labels

null

Provenance

Chevalier Alexandre de Lestang-Parade, Aix-en-Provence, by 1823.[1] Count Melchior de Lestang-Parade, Aix-en-Provence; (sale, Hôtel Drouot, Paris, 19-20 May 1882, nos. 105, 106, as anonymous fifteenth century). Baron Etienne Martin de Beurnonville [d. 1881], Paris; (sale, Hôtel Drouot, Paris, 21-22 May 1883, nos. 43, 44, as Burgundian School, fifteenth century). M. Watel, Paris, 1883.[2] Paris art market, by 1937.[3] (Wildenstein and Co., Paris and New York), by 1938; purchased 1946 by the Samuel H. Kress Foundation, New York; gift 1952 by exchange to NGA.

Exhibition History

2010
France 1500: Entre Moyen Age et Renaissance, Galeries nationales du Grand Palais, Paris; Art Institute of Chicago, 2010-2011, no. 178 (Paris) and no. 33 (Chicago), repro.

Bibliography

1823
[Porte, Jean-Baptiste-François]. Aix ancien et moderne, ou Description des Édifices sacrés et profanes, Établissemens, Monumens antiques, du moyen âge et modernes,... Aix-en-Provence, 1823: 147.
1841
Gaszynski, C. In Mémorial d'Aix (13 June 1841): 2.
1883
Champeaux, Alfred de. "Deux vues de la Cité de Paris au XVe siècle." La Chronique des Arts et de la Curiosité no. 23 (1883): 186-187.
1905
Reinach, Salomon. Répertoire de peintures du moyen âge et de la renaissance (1280-1580) 2 vols. Paris, 1907: 2:665, no. 2, repro.
1907
"Meister des hl. Agidius." In Thieme-Becker. 37 vols. Leipzig,1907-1950: 37(1950):6-7.
1912
Friedländer, Max J. "Der Meister des hl. Ägidius." Amtliche Berichte aus den königl. Kunstsammlungen 34 (1912/1913): 187-188.
1921
Conway, Martin. The Van Eycks and their Followers. London, 1921: 190.
1931
Lemoisne, Paul André. Die gotische Malerei Frankreichs vierzehntes und fünfzehntes Jahrhundert. Leipzig, 1931: 113.
1932
Held, Julius S. "Zwei Ansichten von Paris beim Meister des heiligen Ägidius." Jahrbuch der königlich Preussischen Kunstsammlungen (Jahrbuch der Berliner Museen) 53 (1932): 3-10, 12, 14, fig. 1.
1934
Jong, Johannes Assuerus Bernardus Maria de. Architektuur bij de Nederlandsche Schilders vóór de Hervorming. Amsterdam, 1934: 53-54, fig. 47.
1937
Friedländer, Max J. "Le Maître de Saint-Gilles." Gazette des Beaux Arts 17 (1937): 223-225, 230, figs. 6, 9.
1938
Dimier, Louis. "Les primitifs français." Gzette des Beaux-Arts 20 (1938): 234-235.
1938
Sterling, Charles. La peinture française: les primitifs. Paris, 1938: 135, fig. 171.
1939
National Gallery, London. Supplement to the 1929 Catalogue Including Accessions to the End of 1937. London, 1939: 27.
1939
Réau, Louis. La peinture française du XIVe au XVIe siècle. Paris, 1939: 14, figs. 11, 12.
1942
Sterling, Charles. Les peintres du moyen âge. Paris, 1942: 51, 64, pl. 141.
1945
Davies, Martin. National Gallery Catalogues. Early Netherlandish School. London, 1945: 71-72 (2d ed. 1955: 82-83; 3d ed. 1968, 108-109).
1946
Davies, Martin. Paintings and Drawings on the Backs of National Gallery Pictures. London, 1946: xi.
1949
Hébert, Michèle. "Les monuments parisiens dans l'oeuvre du Maître de Saint Gilles." Fédération des sociétés historiques et archéologiques de Paris et de l'Ile-de-France. Mémoires 1 (1949): 213-214, 224-231, pl. 10.
1949
Ring, Grete. A Century of French Painting 1400-1500. London, 1949: 33, 230, no. 240b, repro. 25.
1951
Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1945-1951. Introduction by John Walker, text by William E. Suida. National Gallery of Art, Washington, 1951: 186-188, no. 82, repro., as The Conversion of an Aryan by St. Remy by Master of St. Gilles.
1954
Tietze, Hans. Treasures of the Great National Galleries. New York, 1954: 117, 123-124.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 333, repro., as The Conversion of an Aryan by Saint Rémy by Master of Saint Gilles.
1959
Réau, Louis. Iconographie de l'art chrétien. 3 vols. Paris, 1955-1959: 3, part 2(1959):1146.
1959
Sauerländer, Willibald. "Die kunstgeschichtliche Stellung der Westportale von Notre-Dame in Paris." Marburger Jahrbuch für Kunstwissenschaft 17 (1959): 22.
1960
The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 4.
1961
Seymour, Charles. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection. London, 1961: 66-67, 202, 218, fig. 59.
1963
Châtelet, Albert, and Jacques Thuillier. French Painting from Fouquet to Poussin. Geneva, 1963: 92-93.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 305, repro., as The Conversion of an Arian by St. Rémy
1965
Hinkle, William M. "The Iconography of the Four Panels by the Master of Saint Giles." Journal of the Warburg and Courtauld Institutes 28 (1965): 110, 130, 133, pls. 19, 21e-f.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 87, as The Conversion of an Arian by Saint Rémy by Master of Saint Gilles.
1966
Hinkle, William M. "The King and the Pope on the Virgin Portal of Notre-Dame." The Art Bulletin 48 (1966): 6, 7, fig. 6.
1966
Laclotte, Michel. Primitifs français. Paris, 1966: 45.
1967
Greenhill, Eleanor S. "The Provenance of a Gothic Head." The Art Bulletin 49, no. 2 (June 1967): 103,-104, 106, fig. 15.
1968
European Paintings and Sculpture: Illustrations (Companion to the Summary Catalogue, 1965). Washington, 1968: 76, no. 1097, repro., as The Conversion of an Arian by Saint Rémy, by Master of Saint Gilles.
1973
National Gallery, London. Illustrated General Catalogue. London, 1973: 444.
1975
European Paintings: An Illustrated Summary Catalogue (National Gallery of Art). Washington, 1975: 224-225, no. 1097, repro., as The Conversion of an Arian by Saint Rémy. by Master of Saint Gilles.
1977
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 240-241, fig. 230, text fig. 53.
1978
Erlande-Brandenburg, Alain, and Dieter Kimpel. "La statuaire de Notre-Dame avant les destructions révolutionnaires." Bulletin Monumental 136 (1978): 217, 222, 230, 264, fig. 4.
1983
Hellerstedt, Kahren Jones. "The Blind Man and His Guide in Netherlandish Painting." Simiolus 13 (1983): 171, fig. 11.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 142, no. 142, color repro., as by Master of St. Giles.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 258, repro.
1986
Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 163-167, repro. 165.
2011
Mullally, Evelyn. Guide de Paris au Moyen Age. Paris, 2011: 112-113, color repro.

Technical Summary

The panel has two vertical joins approximately 19 and 30 cm from the left margin. It was thinned and cradled sometime before 1937. There are no traces of the grisaille of Saint Giles formerly on the back of the panel.[1] The painting is in general in excellent condition. A few localized losses have been inpainted, notably at the right margin and in the sky between the two gables of the Hôtel-Dieu. Yet, in general there is little abrasion and the brushstrokes appear crisp and precise.

Examination with infrared reflectography showed underdrawing in both the architecture and figures. In the area of the portal, the underdrawn design was quite closely followed by the paint layers, though some perspective lines were also drawn at the level of the buttress figures. The four foreground figures facing the bishop were especially fully underdrawn. In the figures in the middle distance, the underdrawn line was often more readily visible with the naked eye than with infrared reflectography.


[1] Friedländer 1937, 223, noted that the panels had been recently cradled. The thinness of the panel, .5 cm, makes it most probable that the grisaille was planed away rather than split. The intact panels in London are .7-8 cm thick.

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