The Assumption of the Virgin with Busts of the Archangel Gabriel and the Virgin of the Annunciation
c. 1400/1405
Artist, Sienese, c. 1335/1345 - 1411

It was 1950 before the Catholic Church accepted the Virgin Mary’s bodily assumption into heaven as official dogma, but the notion had long been part of her legend and a subject for artists. One of the earliest large-scale depictions of this event in Italy was a rose window in the cathedral of Siena, designed by Duccio around 1288. No doubt Paolo di Giovanni Fei would have seen Duccio’s work many times. Paolo’s panel, on the other hand, was used for private devotion. The representation of the Annunciation with images of Mary and the archangel Gabriel in small roundels suggests that it stood on its own, without flanking panels.
Paolo’s Virgin is serene, enthroned on a cloud and looking similar to the young Mary that Paolo painted in The Presentation of the Virgin in the Temple. The artist’s real interest, though, seems to be in the reactions of the apostles, communicated especially through their gestures. At the end of Mary’s time on earth, clouds transported all the apostles from the places where they taught to her bedside. When she died, Jesus appeared to escort her soul to heaven and returned three days later for her body. Here, 11 apostles crowd around Mary’s sarcophagus. Each expresses his wonderment at the miraculous appearance of flowers where a body should have been. In the center of the group, one jostles in to get a closer look. Apart from the others is Thomas, kneeling on the Mount of Olives. Questioning these events, he prayed to Mary for a further sign, and she handed down the girdle (belt) from her robe. His body, arms flung wide and head thrown back dramatically, conveys the measure of his awe.
Artwork overview
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Medium
tempera on panel
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Credit Line
-
Dimensions
painted surface: 66.5 × 38.1 cm (26 3/16 × 15 in.)
overall: 79.8 × 51 cm (31 7/16 × 20 1/16 in.) -
Accession
1961.9.71
More About this Artwork
Artwork history & notes
Provenance
Marchese Bonaventura Chigi Zondadari [1841-1908], Siena, by 1904;[1] his heirs; (Alberto Riccoboni, Italy), by 1947 or 1948;[2] (Count Alessandro Contini Bonacossi, Florence); sold 1948 to the Samuel H. Kress Foundation, New York;[3] gift 1961 to NGA.
[1] Robert Langton Douglas (“The Exhibition of Early Art in Siena,” The Nineteenth Century and After 57 [1904]: 763; James Archer Crowe and Giovanni Battista Cavalcaselle, A History of Painting in Italy, ed. Robert Langton Douglas, 6 vols., London, 1903-1914: 3(1908): 131 n. 3) and F. Mason Perkins (“Dipinti senesi sconosciuti o inediti,” Rassegna d’Arte antica e moderna 1 (1914): 99) confirm his ownership. Various authors, through Bernard Berenson (Pitture italiane del Rinascimento, Milan, 1936: 159), continued to mention that the painting belonged to the Chigi Zondadari family.
[2] The dealer Alberto Riccoboni (Quattrocento Pitture Inedite, exh. cat., Venice, 1947: 5) gives no ownership; presumably the painting still belonged to the Chigi Zondadari family at the time and was only entrusted to Riccoboni for sale in the following year.
[3] The Kress Foundation made an offer to Contini Bonacossi on 7 June 1948 for a group of twenty-eight paintings, including this one; the offer was accepted on 11 July 1948 (see copies of correspondence in NGA curatorial files, see also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/2077).
Associated Names
Exhibition History
1947
Prima mostra Nazionale Antiquaria. Quattrocento Pitturi inedite, Organizzazione Manifestazioni Artistiche, Venice, 1947, no. 23, fig. 12.
Bibliography
1903
Crowe, Joseph Archer, and Giovan Battista Cavalcaselle. A History of Painting in Italy from the Second to the Sixteenth Century. 6 vols. Edited by Robert Langton Douglas (vols. 1-4) and Tancred Borenius (vols. 5-6). Vol. 3, The Sienese, Umbrian, and North Italian Schools. London, 1903-1914: 3(1908):125 n. 2, 131 n. 3.
1904
Douglas, Robert Langton. "The Exhibition of Early Art in Siena." The Nineteenth Century and After 57 (1904): 763.
1907
Perkins, Frederick Mason. "Paolo di Giovanni Fei." In Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. Edited by Ulrich Thieme, Felix Becker and Hans Vollmer. 37 vols. Leipzig, 1907-1950: 26(1932):211.
1908
Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. A New History of Painting in Italy from the Second to the Sixteenth Century. 3 vols. Edited by Edward Hutton. Vol. 2, Sienese School of the Fourteenth Century; Florentine School of the Fifteenth Century. London and New York, 1908-1909: 2(1909):74.
1909
Berenson, Bernard. The Central Italian Painters of the Renaissance. 2nd ed. New York, 1909: 167.
1914
Perkins, F. Mason. "Depinti senesi sconosciuti o inediti." Rassenga d'Arte 1 (1914): 99.
1923
Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 2(1924):529, 531.
1932
Marle, Raimond van. Le scuole della pittura italiana. 2 vols. The Hague and Florence, 1932-1934: 2(1934):578, 581.
Berenson, Bernard. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Oxford, 1932: 184.
1936
Berenson, Bernard. Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere con un indice dei luoghi. Translated by Emilio Cecchi. Milan, 1936: 159.
1947
Riccoboni, Alberto, ed. Prima Mostra Nazionale Antiquaria. Quattrocento pitture Inedite. Exh. cat. Venice, 1947: x, xxi, repro. 5.
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: 40, no. 8, repro.
Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 29.
1952
Berenson, Bernard. The Italian Painters of the Renaissance. London and New York, 1952: fig. 267.
1955
Ferguson, George. Signs and Symbols in Christian Art. 2nd ed. New York, 1955: pl. 26.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 37, repro.
1960
Campolongo, Elizabetta. "Fei, Paolo di Giovanni." In Dizionario biografico degli italiani. Edited by Alberto Maria Ghisalberti. 82+ vols. Rome, 1960+: 46(1996):17.
1964
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1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 49.
Mallory, Michael. Paolo di Giovanni Fei. PhD diss. Columbia University, 1965. Ann Arbor, MI, 1973: 177-191, 241, fig. 84.
1966
Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 61, fig. 160.
Mallory, Michael. "An Early Quattrocento Trinity." The Art Bulletin 48 (1966): 86, fig. 1.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 41, repro.
Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:130.
Degenhart, Bernhard, and Annegrit Schmitt. Corpus der italienischen Zeichnungen 1300-1450, 1: Süd- und Mittelitalien. 4 vols. Berlin, 1968: 1, pt. 1:200, fig. 281.
1969
Mallory, Michael. "A Lost Madonna del Latte by Ambrogio Lorenzetti." The Art Bulletin 51 (1969): 42, n. 14.
Os, Hendrik W. van. Marias Demut und Verherrlichung in der sienesischen Malerei: 1300-1450. The Hague, 1969: 164, 166, 208, fig. 112.
1971
Os, Hendrik W. van. "Andrea di Bartolo’s Assumption of the Virgin." Arts in Virginia 2 (1971): 10, 11, fig. 13.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 60, 307, 647.
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1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 126, repro.
1978
Grimm, Claus. Alte Bilderrahmen: Epochen, Typen, Material. Munich, 1978: 46, fig. 22.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. National Gallery of Art. 2 vols. National Gallery of Art, Washington, 1979: 1:177-178; 2:pl. 123.
Sutton, Denys. "Robert Langton Douglas. Part I." Apollo 109 (April 1979): 314 [68] fig. 42, 315 [69].
1980
Cole, Bruce. Sienese Painting from Its Origins to the Fifteenth Century. New York, 1980: 194, 195, fig. 103.
1981
Carli, Enzo. La pittura senese del Trecento. 1st ed. Milan, 1981: 244, fig. 283.
1982
Il gotico a Siena: miniature, pitture, oreficerie, oggetti d’arte. Exh. cat. Palazzo Pubblico, Siena. Florence, 1982: 296.
1983
L’Art gothique siennois: enluminure, peinture, orfèvrerie, sculpture. Exh. cat. Musée du Petit Palais, Avignon. Florence, 1983: 278.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 299, repro.
Brown, Howard Mayer. "Catalogus. A Corpus of Trecento Pictures with Musical Subject Matter, pt. 2." Imago Musicae 2 (1985): 196, 197.
1986
Ford, Terrence, compiler and ed. Inventory of Music Iconography, no. 1. National Gallery of Art, Washington. New York 1986: 1.
Leoncini, Giovanni. "Fei, Paolo di Giovanni." In La Pittura in Italia. Il Duecento e il Trecento. Edited by Enrico Castelnuovo. 2 vols. Milan, 1986: 2:570.
1990
Newbery, Timothy J., George Bisacca, and Laurence B. Kanter. Italian Renaissance Frames. Exh. cat. Metropolitan Musem of Art. New York, 1990: 35.
1991
Manacorda, Simona. "Fei, Paolo di Giovanni." In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 6(1995):133.
1993
Gagliardi, Jacques. La conquête de la peinture: L’Europe des ateliers du XIIIe au XVe siècle. Paris, 1993: 106.
1996
Thomas, Anabel. "Paolo di Giovanni Fei." In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 24:28.
1997
Chelazzi Dini, Giulietta, Alessandro Angelini, and Bernardina Sani. Sienese Painting From Duccio to the Birth of the Baroque. New York, 1997: 198, 200-201, repro.
Chelazzi Dini, Giulietta. "La cosidetta crisi della metà del Trecento (1348-1390)." In Pittura senese. Edited by Giulietta Chelazzi Dini, Alessandro Angelini and Bernardina Sani. 1st ed. Milan, 1997: repro. 200.
1998
Apostolos-Cappadona, Diane. "Virgin/Virginity." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:905.
Frinta, Mojmír S. Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998: 47, 70, 73, 94, 296, 318, 350, 379.
2003
"Fei, Paolo di Giovanni." In Dictionnaire de la peinture. Edited by Michel Laclotte and Jean Pierre Cuzin. Paris, 2003: 315.
2005
Bagnoli, Alessandro, Silvia Colucci, and Veronica Radon, eds. Il Crocifisso con i dolenti in umiltà di Paolo di Giovanni Fei: un capolavoro riscoperto. Exh. cat. Pinacoteca Nazionale, Siena, 2005: 34 n. 18, 51, 60.
2008
Boskovits, Miklós, and Johannes Tripps, eds. Maestri senesi e toscani nel Lindenau-Museum di Altenburg. Exh. cat. Santa Maria della Scala, Siena, 2008: 82, 84, 85, 90, 129.
2016
Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 112-118, color repro.
Wikidata ID
Q20173329