The Baptism of Christ

c. 1335

Giovanni Baronzio

Painter, Italian, active c. 1320 - 1350

Giovanni Baronzio

Attributed to

A nude man, Jesus, stands with hands together in prayer, hip-deep in a stylized river with a bearded man wearing a fur-like garment on a rocky bank to one side and two winged angels on the other, all against a gleaming gold background in this vertical painting. Another bearded man wearing a white robe floats in a blue field at the top center of the panel. All the people have pale skin, brown hair, and gold halos encircle their heads. At the center of the painting, Jesus’s body is angled to our left, and he tips his head the same direction. Jesus has shoulder-length hair and a trimmed beard. Slate-blue water reaching his hips is painted with regular, white, curving lines to suggest flowing water. Standing on the flat top of a tan-colored rock to our left, the other man head has raggedy, darker brown hair and a fuller beard. His brow is furrowed, and he has dark eyes. He wears the brown, fur-like garment under a white robe. He steps forward on his left foot, farther from us, to touch Jesus’s head with his right hand, and he holds a staff in his other hand. To our right, the angels stand side-by-side facing Jesus. The angel farther from us wears indigo blue and the one closer to us wears a brick-red, patterned, long robe over bare feet. A swath of beige, geometrically patterned fabric drapes over that angel’s arm, whose hands are also held together in prayer. Their wings darken from cream-white at the top to golden yellow, then burnt orange at the bottom. Stylized trees, one to our left and two to our right, grow from the rocky hills beyond the people. In a half-circle at the top, a man smaller in scale hovers, chest down, over the scene. He lifts his right hand toward Jesus and holds a book with a crimson-red cover with his other hand. The semi-circle fades from deep teal at the center to pale aquamarine blue at the outer edge, and is painted with gold starbursts. The entire scene has a gold border with clover-like forms set within diamonds along the inner edge of the panel.

Media Options

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This panel, along with The Birth, Naming, and Circumcision of Saint John the Baptist, and Madonna and Child with Five Angels were once part of the same altarpiece devoted to Saint John the Baptist (see Reconstruction). The altarpiece’s original location is not known, though it was probably featured in a church dedicated to the saint in what is today the northern Italian region of Emilia-Romagna, close to Giovanni Baronzio’s home in Rimini. No documents pertaining to the altarpiece have ever been found, but it must have been dismantled by the mid-19th century, when pieces of it began to appear on the art market. The dispersed parts have been linked to each other through various clues: similar dimensions, related subject matter, the artist’s style, and details of technique and execution. One of those is the brocade pattern incised into the gold background, which appears in all the panels. Another clue is the small punch used to impress a pattern in the gold of the halos.

In this painting, John baptizes Christ in the Jordan River as two angels look on. Submerged up to his hips in the water, Christ inclines his head towards the Baptist, who reaches out to him from the rocky shore of the river. In this case, John places his hand on Jesus’s head rather than anointing him with water. As the Gospel (Matthew 3:13–17) reports: “when Jesus had been baptized, just as he came up from the water, suddenly the heavens were opened to him. He saw the spirit of God descending, and a voice said, 'This is my Son, the Beloved, with whom I am well pleased.'"

On View

West Building Main Floor, Gallery 1

Artwork overview

  • Medium

    tempera on panel

  • Credit Line

    Samuel H. Kress Collection

  • Dimensions

    painted surface: 46.3 × 49 cm (18 1/4 × 19 5/16 in.)
    overall (original panel): 48.8 × 41.2 cm (19 3/16 × 16 1/4 in.)
    overall (including added strips): 49.6 × 42 cm (19 1/2 × 16 9/16 in.)
    framed: 56 x 48.6 x 4.6 cm (22 1/16 x 19 1/8 x 1 13/16 in.)

  • Accession Number

    1939.1.131

Associated Artworks

A woman holding a baby sits on a throne in front of a cloth held up by five winged angels in this vertical painting. The woman, baby, and angels all have pale skin tinged with gray, long, straight noses, narrow mouths, almond-shaped eyes, and gold halos. The woman sits with her knees and shoulders squared to us. She looks at us with light brown eyes, and her head tips slightly to the right, toward the baby. A white veil drapes over her head and shoulders, and she wears a slate-blue dress under a teal-green robe, which is lined with pale, spring green. Gold lines densely spaced across the dress and robe suggest folds and wrinkles. She supports the baby’s bottom with her left hand, to our right. He sits upright with his knees and body angled to our left. He reaches up with his right hand, to our left, to touch the woman’s veil, and the other hand rests on an oversized cricket in his lap. He wears a transparent white garment edged with gold and a marigold yellow and coral orange cloth wrapped across his lap over bare feet. His features are small in a round face. He has brown hair, and his hairline is high. The cloth behind the pair is patterned with gray, brick red, and gold. Two angels hold up each long side and one holds up the top. The angels all look in or down. They have brown hair, and wings and robes in shades of golden yellow, pale peach, and celestial blue. The throne has a blocky seat, and the base projects in a semicircle against the navy-blue floor. There are lion finials at the front of each arm. The background is gilded with a leafy pattern in gleaming gold. The upper corners and some areas along the edges are damaged.

Madonna and Child with Five Angels

Giovanni Baronzio

1335

About a dozen women, babies, and men gather in small groups across interior spaces with a bedroom to one side and a covered space to the other in this vertical panel painting. The women have nearly white-colored skin, and the men and children have pale skin, sometimes tinged with gray. The bed spans the left two-thirds of the composition. A woman lies under a vibrant red coverlet and white sheets pulled up to her chest. A white veil covers her head, forehead, and neck, and she wears a white, long-sleeved gown. Her shoulders rest up on pillows, and her head is surrounded by a shiny gold halo. A pale face by the woman’s feet looks through an opening at the base of the bed. Two women on the far side of the bed wear green or blue dresses and white head coverings. They both attend to a swaddled blond baby, who also has a gold halo. The wall behind the bed is patterned with an intricate geometric design in grass green and brown. The space above the bed is shiny gold punched with a leafy pattern. The wall is capped with an entablature held up with corbels. A balcony space rises to the left, and a structure with arched openings is to our right. A deep bench runs parallel to the bed along the bottom edge of the painting, closer to us. A balding man with a gray beard sits there and writes, brows deeply furrowed, on a scroll braced on one knee. If complete, writing on the scroll would read “NOMEN EST IOHANNES.” He wears a blue robe under a pale pink cloak, and he has a halo. A man standing just to our right of the seated man gestures toward the first with both hands. This second man has a brown beard and long hair and wears a marigold orange cloak over red robes. A bearded man with gray hair standing behind him wears leaf green and looks to our right. Four men and a haloed baby crowd in the covered space to our right. The man wearing green is shown again, now holding the nude baby. The man with brown hair now wears white vestments and cuts foreskin of the baby’s penis. Two other two men look on, and a sliver of an orange cap indicates that a fifth person is at the back of the crowd. The covered space is ivory-white and has a balcony above the taller, lower level. The whole panel is edged by gold patterned with a clover-like design.

The Birth, Naming, and Circumcision of Saint John the Baptist

Giovanni Baronzio

1335

More About this Artwork

Scholarly Article:  Italian Paintings of the Thirteenth and Fourteenth Centuries: The Baptism of Christ, c. 1335

This horizontal painting is made up of three parts: in the center square panel, a woman reclines under a wooden shelter set into a rocky cave, which is surrounded by angels, and narrower wings to either side are each occupied by a standing man. All the people have pale skin, which is tinged with faint green. The three panels are joined with a gold frame, and the gold background behind the central scene and the men in the side panels are covered with a noticeable network of cracks. In the central panel, a cobalt-blue robe nearly envelopes the reclining woman’s body; this is Mary. It covers her head and falls open where she crosses her wrists over her chest to show a pink garment underneath. A flat gold halo encircles her head ,and her body is surrounded by a field of crimson red, almost like an aura. She rests under a wooden structure with a pitched roof, which is surrounded by craggy, barren rock. A swaddled infant lies in a rectangular, tray-like manger. The infant’s head is also surrounded by a gold halo. Fine gold rays emanate down into the structure from a star just above the peak of the roof. A bull and a donkey look down at the baby from the far side of the manger. The interior of the structure behind them is black. In a smaller scale, two women wash a haloed infant in a tub in front of the rocky cave near the lower left corner of this panel. A man with a white beard and hair sits to our left of Mary, holding a pink cloak at his throat and looking toward the infant. Above and around the rocks, seven winged and haloed angels cluster on each side. One angel to the right presents a scroll with black writing to two men accompanied by a dog and several sheep in the lower right. The man in the panel to the left, Isaiah, has a gray beard and long, wavy hair, and he wears a lilac-purple cloak draped over a coral-orange robe. In his right hand, on our left, he holds an unfurled scroll with large black lettering. His other hand is raised with one finger pointing upward. He looks to our left, away from the central scene. On the right, Ezekiel, echoes Isaiah's pose. Ezekiel holds an open scroll with his left hand, on our right, and his other hand is raised. He also wears a coral-colored robe, but his is overlaid with a blue cloak. His receding hair is short and brown, as is his beard. Like Isaiah, he takes up most of the height of the panel and gazes to our left, toward the central panel.

Scholarly Series:  Italian Paintings of the Thirteenth and Fourteenth Centuries

Artwork history & notes

Provenance

Possibly commissioned as part of the high altarpiece of a church dedicated to Saint John the Baptist in Emilia Romagna or in the Marche, Italy. Probably Monsignor Gabriele Laureani [d. 1849], Rome; Guilio Sterbini [d. 1911], Rome, by 1874;[1] Pasini collection, Rome, by 1924;[2] (Count Alessandro Contini Bonacossi, Florence); purchased June 1933 by the Samuel H. Kress Foundation, New York;[3] gift 1939 to NGA.
[1] David Farabulini (La pittura antica e moderna e la Galleria del cav. Giulio Sterbini, Rome, 1874: 29) cites “varie storie della vita del Battista” in the Sterbini collection, while Adolfo Venturi (La Galleria Sterbini in Roma, Rome, 1906), in publishing The Baptism of Christ, then forming part of that collection, comments that two additional Stories of the Saint, the “San Giovanni che parla a due seguaci” (i.e., the Baptist Interrogated by the Pharisees) and “S. Giovanni tra i Padri del Limbo” (i.e., the Baptist’s Descent into Limbo) also formed part of this collection. Farabulini further explains (1874, 13) that Sterbini had acquired paintings for his collection in Rome from Monsignor Gabriele Laureani, prefect of the Vatican Apostolic Library, who was engaged in acquiring paintings by “maestri primitivi” for the Vatican’s collections. Since the works later gathered in the Pinacoteca Vaticana also include a panel from this series, namely the Young Baptist Being Led into the Wilderness by an Angel (no. 40185), there are good grounds for assuming that it had arrived in Rome together with the fragments acquired by Sterbini. On the Sterbini collection see also L. Morozzi, "Da Lasinio a Sterbini. Primitivi in una raccolta romana di secondo Ottocento," AEIMNEΣTOΣ. Miscellanea di studi per Mauro Cristofani, ed. by B. Adembri, II, Florence, 2006: 908-916. The supposition, quite unfounded, that NGA 1939.1.131 actually comes from the Pinacoteca Vaticana, no doubt derives from these circumstances (see Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian Schools XIII - XV century, London, 1966: 69, and Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:316, citing Bernard Berenson’s notes on the reverse of a photograph of the painting, in the Kress Foundation files).
[2] Lionello Venturi (Pitture italiane in America, Milan, 1931) was the last to report the painting’s presence in the Pasini collection. Federico Zeri wrote to Robert O. Parks that Pasini was the dealer who sold the entire Sterbini collection; Parks in turn passed this information on to John Walker (letter, Parks to Walker, 27 December 1949, in NGA curatorial files).
[3] The bill of sale for a large number of paintings, including this one, is dated 28 June 1933 (copy in NGA curatorial files). See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/2083.

Associated Names

Exhibition History

1932

  • An Exhibition of Italian Paintings, Lent by Mr. Samuel H. Kress of New York to Museums, Colleges, and Associations, twenty-four venues in the United States, 1932-1935, no. 32.

1995

  • Il Trecento Riminese: Maestri e botteghe tra Romagna e Marche, Museo della Città, Rimini, Italy, 1995-1996, no. 52, repro.

2017

  • Firenze: Pittura e tessile nel XII e XIV, Galleria dell'Accademia, Florence, 2017-2018.

Bibliography

1874

  • Farabulini, David. La pittura antica e moderna e la Galleria del Cav. Giulio Sterbini. Rome, 1874: 29.

1906

  • Venturi, Adolfo. La Galleria Sterbini in Roma: saggio illustrativo. Rome, 1906: 48, 51 (repro.), 53.

1923

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 4(1924):288, repro. 291.

1928

  • Lehman, Robert. The Philip Lehman Collection, New York: Paintings. Paris, 1928: no. LXXIV, repro.

1933

  • Guida della Pinacoteca Vaticana. Musei e Gallerie Pontificie. Vatican City, 1933: 54.

1934

  • Frankfurter, Alfred M. "Fine Italian Paintings from Kress Exhibition." Art News 32 (1934): 8, repro. 9.

1935

  • Salmi, Mario. "La scuola di Rimini, 3." Rivista del R. Istituto d'archeologia e storia dell’arte 5 (1935): 114, 125 n. 26.

  • An Exhibition of Italian Paintings Lent by Mr. Samuel H. Kress of New York to the Telfair Academy of Arts and Sciences. Exh. cat. Telfair Academy, Savannah, Georgia, n.d. (1935?): 32.

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: 37.

  • Brandi, Cesare. "Conclusioni su alcuni discussi problemi della pittura riminese del Trecento." Critica d’arte 1 (1936): 231 n. 18, 236-237.

  • Salmi, Mario. "Review of Conclusioni su alcuni discussi problemi della pittura riminese del Trecento by Cesare Brandi." Rivista d’arte 18 (1936): 413.

1941

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 13, no. 242, as by Giovanni Baronzio.

  • National Gallery of Art. Book of Illustrations. Washington, 1941: 60 (repro.), 238.

  • Frankfurter, Alfred M. "On the Italian Renaissance Painters in the National Gallery." Art News 40 (15-31 March 1941): repro. 17.

  • Coletti, Luigi. I Primitivi. 3 vols. Novara, 1941-1947: 3(1947):lxix n. 34.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 244, repro. 62, as by Giovanni Baronzio.

1945

  • Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 9, repro., as by Giovanni Baronzio.

1951

  • Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 24 n. 1

  • Toesca, Pietro. Il Trecento. Storia dell’arte italiana, 2. Turin, 1951: 730-731, repro 732.

  • 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: 36.

1954

  • Suida, Wilhelm. European Paintings and Sculpture from the Samuel H. Kress Collection. Seattle, 1954: 14.

1957

  • Exposition de la Collection Lehman de New York. Exh. cat. Musée de l’Orangerie, Paris, 1957: 31-32.

1959

  • Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 25, repro.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 297, repro.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 86.

  • Volpe, Carlo. La pittura riminese del Trecento. Milan, 1965: 38-39, 81, fig. 184.

1966

  • Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 69, fig. 184.

1967

  • Klesse, Brigitte. Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts. Bern, 1967: 64, 187, 213, 281.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 75, repro.

  • Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:362.

1970

  • Seymour, Charles. Early Italian Paintings in the Yale University Art Gallery. New Haven and London, 1970: 108.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 130, 277, 645.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 222, repro.

  • Szabó, George. The Robert Lehman Collection: A Guide. New York, 1975: 25.

1978

  • Kaftal, George, and Fabio Bisogni. Saints in Italian Art. Vol. 3 (of 4), Iconography of the Saints in the Painting of North East Italy. Florence, 1978: 520.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:316; 2:pl. 228.

  • Zuliani, Fulvio. "Tommaso da Modena." In Tomaso da Modena: catalogo. Edited by Luigi Menegazzi. Exh. cat. Convento di Santa Caterina, Capitolo dei Dominicani, Treviso, 1979: 105 n. 9.

1982

  • Christiansen, Keith. "Fourteenth-Century Italian Altarpieces." Bulletin of the Metropolitan Museum of Art 40 (1982): 42, repro. 45.

1984

  • Corbara, Antonio. "Il ciclo Francescano di Francesco da Rimini." Romagna arte e storia 4, no. 12 (1984): repro. 59.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 254, repro.

1986

  • Castelnuovo, Enrico, ed. La Pittura in Italia. Il Duecento e il Trecento. Essays by Andrea Bacchi and Daniele Benati. 2 vols. Milan, 1986: 1:208; 2:611.

1987

  • Pope-Hennessy, John, and Laurence B. Kanter. The Robert Lehman Collection. Vol. 1, Italian Paintings. New York, 1987: 86, repro. 289.

1989

  • "Maestro della Vita del Battista." In Dizionario della pittura e dei pittori. Edited by Enrico Castelnuovo and Bruno Toscano. 6 vols. Turin, 1989-1994: 3(1992):430.

1990

  • Pasini, Pier Giorgio. La pittura riminese del Trecento. Cinisello Balsamo (Milan), 1990: repro. 125.

1991

  • Freuler, Gaudenz, ed. Manifestatori delle cose miracolose: arte italiana del ’300 e ’400 da collezioni in Svizzera e nel Liechtenstein. Exh. cat. Villa Favorita, Fondazione Thyssen-Bornemisza, Lugano-Castagnola. Einsiedeln, 1991: 132.

  • Benati, Daniele. "Baronzio, Giovanni." In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 3(1992):121.

1992

  • Mancinelli, Fabrizio. "I dipinti della Pinacoteca dall’XI al XV secolo." In Pinacoteca Vaticana: nella pittura l’espressione del messaggio divino nella luce la radice della creazione pittorica. Edited by Umberto Baldini. Milan, 1992: 162-163.

1993

  • Boskovits, Miklós. "Per la storia della pittura tra la Romagna e le Marche ai primi del ’300." Arte cristiana 81 (1993): 168-169.

1994

  • Rossi, Francesco. Catalogo della Pinacoteca Vaticana, 3. Il Trecento: Umbria, Marche, Italia del Nord. Vatican City, 1994: 113-118, fig. 156.

1995

  • Baetjer, Katharine. European Paintings in the Metropolitan Museum of Art by Artists Born before 1865. A Summary Catalogue. New York, 1995: 110.

  • Benati, Daniele, ed. Il Trecento riminese: Maestri e botteghe tra Romagna e Marche. Exh. cat. Museo della città, Rimini. Milan, 1995: 47, 55, 246, 248, 260, 264, 266, repro. 268-269.

1996

  • Tambini, Anna. "In margine alla pittura riminese del Trecento." Studi romagnoli 47 (1996): 466.

1998

  • Frinta, Mojmír S. Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998: 164.

2002

  • Ragionieri, Giovanna. "Baronzio, Giovanni." In La pittura in Europa. Il Dizionario dei pittori. Edited by Carlo Pirovano. 3 vols. Milan, 2002: 1:53.

2005

  • Laclotte, Michel, and Esther Moench. Peinture italienne: Musée du Petit Palais, Avignon. Paris, 2005: 63.

2006

  • Benati, Daniele. "Il Dossale Corvisieri nel percorso di Giovanni Baronzio." L’Arco 4 (2006): 27.

  • Morozzi, Luisa. "Da Lasinio a Sterbini: ‘primitivi’ in una raccolta romana di secondo Ottocento." In AEIMNEΣTOΣ. Miscellanea di studi per Mauro Cristofani. 2 vols. Edited by Benedetta Adembri. Florence, 2006: 2:912, 916 n. 50.

2008

  • Ferrara, Daniele, ed. Giovanni Baronzio e la pittura a Rimini nel Trecento. Exh. cat. Galleria Nazionale d’Arte Antica, Rome. Cinisello Balsamo (near Milan), 2008: 31, 106.

2016

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 159-175, color repro.

Wikidata ID

Q20173095

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