The Calling of the Apostles Peter and Andrew

1308-1311

Duccio di Buoninsegna

Painter, Sienese, c. 1250/1255 - 1318/1319

Duccio di Buoninsegna

A man stands on a rocky, tan-colored outcropping and gestures to two men in a rowboat, all against a gold background in this square painting. The men’s pale skin is tinged with gray but they have rosy cheeks, and all three have beards. The outcropping rises steeply up along the left edge of the panel. The man who stands on it has long brown hair, a straight nose, and a small mouth. A halo is incised with geometric designs around his head against the gold background. He wears a crimson-red robe under a sea-blue mantle, both of which are edged with a line of gold. He holds up his blue robe with his left hand, farther from us, and holds out his other hand, palm up, to the other men. Those men stand in a wooden rowboat and hold a net heavy with fish over the side. Both of these men have ash-blond hair. The man to our left in the boat wears a sky-blue tunic and holds up one hand to his chest as he faces our left, his other hand holding a line of the net. The second man, to our right, has a longer beard and wears a brick-red robe. He holds the net with both hands, and looks up and to our left. The boat floats on a copper-green sea with several fish swimming in its undulating current. The fish are painted with dark green outlines. Closer inspection reveals two fish with gaping mouths facing us head on.

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Like Duccio’s The Nativity with the Prophets Isaiah and Ezekiel, this small panel was part of the Maestà, one of the most important masterpieces in the history of Western painting. The monumental Maestà was a two-sided altarpiece that dominated the main altar in Siena’s cathedral for nearly two centuries. Within the vast black-and-white striped interior of the church, it would have glittered in the colored light that washed down through stained glass. Completed in less than three years, the Maestà was a huge undertaking, for which Duccio received 3,000 gold florins—more than any artist had ever commanded. Although he must have had substantial help from his pupils and workshop assistants, the design and execution indicates that Duccio exercised control over the whole project. Moved to a side altar in 1506, the altarpiece was sawn apart in the 1770s and individual panels subsequently dispersed. This makes it impossible to determine its dimensions with certainty, but it must have been about 15 feet wide, with the gables rising to as much as 17 feet high. In all, there were probably more than 70 individual scenes (see Reconstructions).

This panel was located on the back of the altarpiece, where the imagery was devoted to Christ’s Passion and his mission as teacher—apt subjects for the rear panels, which would have been seen only by clergy standing behind the altar. Here we find Jesus calling his first disciples. He approaches two fishermen at work on the Sea of Galilee: Simon, called Peter, and his brother Andrew. Their net is full when Jesus says to them: “Follow me, and I will make you fishers of men” (Matthew 4:18).

This panel is one of the highlights of Duccio’s accomplishments and likely one of the last created, displaying all the lessons learned over the years of painting the Maestà. The figures are sensitively human, their gestures expressive, their draperies lyrical yet describing the bodies beneath. Duccio’s setting is evocative of nature, yet reminds us, with the gilded sky, that capturing the physical world is not this painter’s top priority.

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Artwork overview

  • Medium

    tempera on panel

  • Credit Line

    Samuel H. Kress Collection

  • Dimensions

    painted surface: 42.7 × 45.5 cm (16 13/16 × 17 15/16 in.)
    overall: 43.3 × 46.2 × 4.4 cm (17 1/16 × 18 3/16 × 1 3/4 in.)
    framed: 54.61 × 57.15 × 4.45 cm (21 1/2 × 22 1/2 × 1 3/4 in.)

  • Accession Number

    1939.1.141

Associated Artworks

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.

The Nativity with the Prophets Isaiah and Ezekiel

Duccio di Buoninsegna

1308

More About this Artwork

Scholarly Article:  Italian Paintings of the Thirteenth and Fourteenth Centuries: The Calling of the Apostles Peter and Andrew, 1308-1311

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

NGA 1939.1.141 formed part of the rear predella of Duccio's double-sided altarpiece the Maestà, which was in the course of execution by October 1308 and was placed on the high altar of the Cathedral of Siena on 30 June 1311;[1] the altarpiece was removed from the cathedral in 1506, first stored by the Cathedral authorities, and then later displayed on the wall of the left transept, close to the altar of Saint Sebastian, but probably by this time the predella and gable panels had already been separated from it;[2] the altarpiece was moved to the church of Sant'Ansano in 1777, where its two sides were separated and returned to the cathedral;[3] in 1798 the gables and eight panels of the predella were reported as being housed in the sacristy of the cathedral, whereas the rest, including NGA 1939.1.141, must already have been in private hands;[4] Giuseppe and Marziale Dini, Colle Val d'Elsa (Siena), by 1879;[5] purchased 1886 by (Charles Fairfax Murray [1849-1919], London and Florence) for Robert Henry [1850-1929] and Evelyn Holford [1856-1943] Benson, London and Buckhurst Park, Sussex;[6] sold 1927 with the entire Benson collection to (Duveen Brothers, Inc., London, New York, and Paris);[7] sold 1 October 1928 to Clarence H. Mackay [1874-1938], Roslyn, New York;[8] sold 1934 to the Samuel H. Kress Foundation, New York;[9] gift 1939 to NGA.
[1] The documents are published in Jane Immler Satkowski, Duccio di Boninsegna. The Documents and Early Sources, ed. Hayden B.J. Maginnis, Atlanta, 2000: 69-81, and in Allesandro Bagnoli et al., eds. Duccio: Siena fra tradizione bizantina e mondo gotico, Milan, 2003.: 577-579.
[2] See Alessandro Lisini, “Notizie di Duccio pittore e della sua celebre ancona,” Bullettino senese di storia patria 5 (1898): 24-25. According to this author, in 1506 the altarpiece "venne confinata in certi mezzanini dell'Opera [del Duomo]...e per introdurvela fu necessario di togliere tutte le cuspidi e gli accessori" ("was stored in certain passages in the Opera del Duomo...and to enter there it was necessary to cut off all the pinnacles and accessories"). This latter term presumably comprises the predella. Lisini stated that only "sulla fine del secolo" - i.e., at the end of the sixteenth century - was the painting brought back to the cathedral. In Giovanna Ragionieri's opinion, however, the altarpiece had already been returned to the cathedral in 1536 and installed near the altar of Saint Sebastian. See Giovanna Ragionieri, in Duccio: Siena fra tradizione bizantina e mondo gotico, ed. Alessandro Bagnoli et al., Siena, 2003: 212.
[3] See Pèleo Bacci, Francesco da Valdambrino, Emulo del Ghiberti e collaboratore di Jacopo della Quercia, Siena, 1936: 185-186. The author did not mention the gables and predella; these had probably been separated earlier from the rest of the altarpiece (see the previous note). After the separation of the two sides of the main panel, the front with the image of the Madonna and Child enthroned in majesty surrounded by saints and angels was hung in its former place in the left transept, and the narrative scenes of the back were hung in the opposite transept.
[4] See Bacci 1936, 187. Vittorio Lusini specified that, apart from the twelve scenes of the gable, eight panels of the predella were present in the sacristy at this time, i.e., one more than the predella panels now preserved in the Museo dell'Opera Metropolitana del Duomo in Siena. The identity of this eighth scene is uncertain, but presumably it was different from those that reappeared in private hands in the second half of the nineteenth century. See Vittorio Lusini, Il Duomo di Siena, 2 vols., Siena, 1911-1939: 2:77. The seven predella panels now in the Siena cathedral museum represent the Adoration of the Magi, the Presentation in the Temple, the Massacre of the Innocents, the Flight into Egypt, and Christ among the Doctors from the front predella, and the Temptation on the Temple and the Wedding at Cana from the rear predella. James Archer Crowe and Giovanni Battista Cavalcaselle, around the mid-nineteenth century, were only able to see six predella panels in the sacristy of the cathedral: the much damaged Temptation on the Temple and the eighth panel of unknown subject were no longer there. See Joseph Archer Crowe and Giovan Battista Cavalcaselle, A New History of Painting in Italy from the Second to the Sixteenth Century, 3 vols., London, 1864: 2:44 n. 1. Curt H. Weigelt discovered Temptation on the Temple in the storerooms of the Opera del Duomo in 1909, whereas the eighth panel has so far not been identified. See Curt H. Weigelt, “Contributo alla ricostruzione della Maestà di Duccio di Buoninsegna nel Museo della Metropolitana di Siena,” Bullettino senese di storia patria 16, no. 2 (1909): 191-214. The predella, its many panels now divided among various museums in the world, was probably disposed of by the Opera del Duomo during the eighteenth century, and was at first privately owned in Siena.
[5] The painting was exhibited in Colle Val d’Elsa in 1879 as the property of Giuseppe and Marziale Dini, together with three other predella panels: The Calling of the Apostles Peter and Andrew framed together with the Raising of Lazarus, now in the Kimbell Art Museum in Fort Worth, and the Temptation on the Mountain (Frick Collection, New York) framed together with the Christ and the Woman of Samaria, now in the Thyssen-Bornemisza Museum in Madrid.
[6] Fern Rusk Shapley (Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:172 n. 2) quotes the following annotation written by Benson in his personal copy of the catalogue of his collection: “In 1886 I gave a commission to C. Fairfax Murray to spend £ 2000 for me in Italy. These 4 Duccios were part of the spoils.” This information was supplied by Benson’s grandson, Peter Wake, in a letter of 2 February 1976, to Anna Voris (in NGA curatorial files).
[7] See Tancred Borenius, “The Benson collection,” Apollo 6 (1927): 65-70, and Duveen Brothers Records, accession number 960015, Special Collections, Getty Research Institute, Los Angeles: reel 206, box 351, folders 2 and 3; reel 207, box 352, folders 1 and 2 (copies in NGA curatorial files).
[8] Duveen Brothers Records, accession number 960015, Special Collections, Getty Research Institute, Los Angeles, Series I Business Records, New York Sales Lists 1922-1928. The painting was in the Mackay collection in Roslyn, New York (Royal Cortissoz, “The Clarence H. Mackay Collection,” International Studio 40 (December 1929): 120), whereas the Raising of Lazarus together with the Christ and the Woman of Samaria were bought by John D. Rockfeller, Jr. for his collection in New York, and the Temptation on the Mountain was acquired for the Frick Collection, also in New York. Not long after its acquisition, financial difficulties obliged Mackay gradually to sell off parts of his collection, and Duveen Brothers, Inc. assisted him in this effort (see Edward Fowles, Memories of Duveen Brothers, London, 1976:157, and the Duveen Brothers Records, reels 336–339). The NGA painting had been offered—unsuccessfully—to Samuel H. Kress in 1932 (see Colin Simpson, The Partnership. The Secret Association of Bernard Berenson and Joseph Duveen, London, 1987: 236).
[9] Shapley 1979, 1:172. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/2094.

Associated Names

Exhibition History

1904

  • Exhibition of Pictures of the School of Siena, Burlington Fine Arts Club, London, 1904, nos. 1 and 7.

1927

  • Loan Exhibition of the Benson Collection of Old Italian Masters, City of Manchester Art Gallery, 1927, no. 108.

1935

  • Exposition de L'Art Italien de Cimabue à Tiepolo, Petit Palais, Paris, 1935, no. 150.

Bibliography

1894

  • Portfolio of Photographic Reproductions of Pictures in the Early Italian Art Exhibition. London, 1894: pl. 42.

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  • Richter, Jean Paul. "Die Ausstellung italienischer Renaissancewerke in der New Gallery in London." Repertorium für Kunstwissenschaft 17 (1894): 238.

  • Ulmann, Hermann. "Photographische Reproductionen der in der New Gallery 1894 aus englishem Privatbesitz ausgestellten italienischen Bilder." Repertorium für Kunstwissenschaft 17 (1894): 489.

1897

  • Berenson, Bernard. The Central Italian Painters of the Renaissance. New York, 1897: 140.

1901

  • Venturi, Adolfo. Storia dell’arte italiana. 11 vols. Milan, 1901-1940: 5(1907):560, 566, 568-570, figs. 458, 459, 460, 463.

1902

  • Douglas, Robert Langton. A History of Siena. London, 1902: 345, 349.

1903

  • Douglas, Robert Langton. "Duccio and the Early History of Italian Painting." The Monthly Review 35, no. 2 (1903): 142-143.

  • 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):10-11 n. 2.

1904

  • Frizzoni, Gustavo. "L’esposizione d’arte senese al Burlington Fine Arts Club." L’Arte 7 (1904): 257-258, fig. 1.

  • Fry, Roger. "La mostra d’arte senese al Burlington Club di Londra." Rassegna d’arte 4 (1904): 116.

1905

  • Reinach, Saloman. Répertoire de peintures du Moyen Age et de la Renaissance (1280-1580). 6 vols. Paris, 1905-1923: 1(1905):463.

1906

  • Pératé, André. "La peinture italienne au XIV siècle." In Histoire de l’art, vol. 2: formation, expansion et évolution de l'art gothique. Edited by André Michel. Paris, 1906: 828.

1907

  • Jacobsen, Emil. Sienesische Meister des Trecento in der Gemäldegalerie zu Siena. Strasbourg, 1907: 27 n. 1.

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  • Weigelt, Curt H. "Duccio di Buoninsegna." In Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. Edited by Ulrich Thieme and Felix Becker. 37 vols. Leipzig, 1907-1950: 10(1914):26-27.

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):10 n. 5.

1909

  • Berenson, Bernard. The Central Italian Painters of the Renaissance. 2nd ed. New York, 1909: 162, 163.

  • Weigelt, Curt H. "Contributo alla ricostruzione della Maestà di Duccio di Buoninsegna, che si trova nel Museo della Metropolitana di Siena." Bullettino senese di storia patria 16 (1909): 191, 192, 195, 201, 202 n. 1, 210-212.

1911

  • Lusini, Vittorio. Il Duomo di Siena. Siena, 1911: 73, 75 n. 77, 113, 115, 141.

  • Fry, Roger. "Exhibition of Old Masters at the Grafton Galleries, 1." The Burlington Magazine for Connoisseurs 20 (1911): 71.

  • Weigelt, Curt H. Duccio di Buoninsegna: Studien zur Geschichte der frühsienesischen Tafelmalerei. Leipzig, 1911: 89, 94, 232, 238, 280, pls. 12, 18.

1912

  • Howe, William Norton. Animal Life in Italian Painting. London, 1912: 49.

1913

  • Vasari, Giorgio, and Arturo Jahn Rusconi (into. and notes). Vita di Duccio di Buoninsegna. Le vite dei più eccellenti pittori, scultori e architettori 17. Florence, 1913: 20-22.

1914

  • Borenius, Tancred. Catalogue of Italian Pictures at 16 South Street, Park Lane, London and Buckhurst in Sussex Collected by Robert and Evelyn Benson. London, 1914: no. 4.

1916

  • Berenson, Bernard. "Ugolino Lorenzetti." Art in America 5 (1916-1917): 264, 267 fig. 1.

1923

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 2(1924):21, 28-31, 33.

1924

  • Vitzthum, Georg Graf, and Wolgang Fritz Volbach. Die Malerei und Plastik des Mittelalters in Italien. Handbuch der Kunstwissenschaft 1. Wildpark-Potsdam, 1924: 239-240.

1926

  • Gielly, Louis. Les primitifs siennois. Paris, 1926: 9, 11 n. 106.

1927

  • Borenius, Tancred. "The Benson Collection." Apollo 6 (1927): 66 (repro.), 68.

  • Comstock, Helen. "Panels from Duccio’s Majestas for America." International Studio 88, no. 364 (1927): 63, 65, 67-68.

  • Douglas, Robert Langton. "I dipinti senesi della Collezione Benson passati da Londra in America." Rassegna d’arte senese e del costume 1, no. 5 (1927): 99, 100 (repro.), 103 n.

  • Washburn-Freund, Frank E. "Die Sammlung Benson." Der Cicerone 19 (1927): 499.

1928

  • Cecchi, Emilio. Trecentisti senesi. Rome, 1928: 35-36, 41, 42, 43, 127, pl. 25.

  • Washburn-Freund, Frank E. "Die Vier Duccios der Sammlung Benson." Der Cicerone 20 (1928): 333-336, repro. 335.

1929

  • Toesca, Pietro. "Duccio di Buoninsegna." In Enciclopedia italiana di scienze, lettere ed arti. Edited by Istituto Giovanni Treccani. 36 vols. Milan, 1929-1939: 13(1932):245.

1930

  • Weigelt, Curt H. Die sienesische Malerei des vierzehnten Jahrhunderts. Pantheon Edition. Florence and Munich, 1930: 10, 15, 69 n. 16, 71.

1931

  • Venturi, Lionello. Pitture italiane in America. Milan, 1931: no. 15, repro.

  • Hautecoeur, Louis. Les primitifs italiens. Paris, 1931: 119, 120.

1932

  • Edgell, George Harold. A History of Sienese Painting. New York, 1932: 49.

  • Marle, Raimond van. Le scuole della pittura italiana. 2 vols. The Hague and Florence, 1932-1934: 2(1934):32-34, fig. 21.

  • Berenson, Bernard. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Oxford, 1932: 176.

1933

  • Venturi, Lionello. Italian Paintings in America. Translated by Countess Vanden Heuvel and Charles Marriott. 3 vols. New York and Milan, 1933: 1:no. 18, repro.

1935

  • Tietze, Hans. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935: 30, repro.

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: 152.

1939

  • Tietze, Hans. Masterpieces of European Painting in America. New York, 1939: 30, repro.

1940

  • Suida, Wilhelm. "Die Sammlung Kress: New York." Pantheon 26 (1940): 274.

1941

  • Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: nos. 8-10, repros.

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 60, no. 252, pl. IV.

  • Richter, George Martin. "The New National Gallery in Washington." The Burlington Magazine for Connoisseurs 78 (June 1941): 177.

  • Frankfurter, Alfred M. "On the Italian Renaissance Painters in the National Gallery." Art News 40 (15-31 March 1941): 16, 26.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 244, repro. 100.

1944

  • Cairns, Huntington, and John Walker, eds. Masterpieces of Painting from the National Gallery of Art. New York, 1944: 16, color repro.

  • Frankfurter, Alfred M. The Kress Collection in the National Gallery. New York, 1944: 19, repro.

1945

  • Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 8, repro.

1947

  • Carli, Enzo. I capolavori dell’arte senese. 2nd ed. Florence, 1947: 17.

1950

  • Papi, Vittorio. Duccio’s Majestas: The History and Poetry of a Famous Picture. Siena, 1950: 70.

1951

  • Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 16, repro. 14.

  • Galetti, Ugo, and Ettore Camesasca. Enciclopedia della pittura italiana. 3 vols. Milan, 1951: 1:862.

  • Toesca, Pietro. Il Trecento. Storia dell’arte italiana, 2. Turin, 1951: 501 n. 37.

  • Brandi, Cesare. Duccio. Florence, 1951: 60, 144, pls. 42, 51.

  • Davies, Martin. National Gallery Catalogues. The Earlier Italian Schools. London, 1951: 134-135.

1952

  • Carli, Enzo. Duccio. Astra Arengarium. Collection de Monographies d’Art Peintres 31. Milan, 1952: figs. 63, 73.

  • Cecchini, Giovanni. L’opera metropolitana e il suo museo. Siena, 1952: 26.

1953

  • Brandi, Cesare. Duccio di Buoninsegna (La Maestà). Milan, 1953: 10.

  • Oertel, Robert. Die Frühzeit der italienischen Malerei. Stuttgart, 1953: 123, 226 n. 218.

1955

  • Carli, Enzo. La pittura senese. Milan, 1955: 46.

  • DeWald, Ernest T. "Observations on Duccio’s Maestà." In Late Classical and Mediaeval Studies in Honor of Albert Mathias Friend Jr. Edited by Kurt Weitzmann. Princeton, 1955: 373, 374, 379.

1956

  • Walker, John. National Gallery of Art, Washington. New York, 1956: 14, repro.

  • D’Ancona, Paolo. Duccio. Milan, 1956: 11, repro. 22.

1959

  • Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 14, repro.

  • Brandi, Cesare, ed. Il restauro della Maestà di Duccio. Rome, 1959: 8, 9, 11, 12.

1960

  • Bologna, Ferdinando. "Duccio di Buoninsegna." In Dizionario biografico degli italiani. Edited by Alberto Maria Ghisalberti. 82+ vols. Rome, 1960+: 41(1992):747.

1961

  • Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings and Sculpture in the Samuel H. Kress Collection. London, 1961: 6, repro. 8.

  • DeWald, Ernest T. Italian Painting 1200-1600. New York, 1961: 112, 117.

  • Carli, Enzo. Duccio di Buoninsegna. Milan, 1961: 22, 31, pls. 15, 16, 26.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 66, repro.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 44.

  • Cooper, Frederick A. "A Reconstruction of Duccio’s Maestà." The Art Bulletin 47 (1965): 156 n. 11, figs. 2, 3.

1966

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:6, color repro.

  • Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 13-14, fig. 28.

  • Parronchi, Alessandro. "Segnalazione Duccesca." Antichità viva 5 (1966): 5 n. 1.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 37, repro.

  • Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 2:118, pl. 34.

  • Ruhemann, Helmut. The Cleaning of Paintings: Problems and Potentialities. London, 1968: 41, fig. 1.

  • The Frick Collection: An Illustrated Catalogue, vol. 2, Paintings, French, Italian and Spanish. New York, 1968: 226.

  • Oertel, Robert. Early Italian Painting to 1400. London, 1968: 358 n. 7.

  • Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 10, 18, color repro.

1969

  • Stubblebine, James H. "The Angel Pinnacles on Duccio’s Maestà." Art Quarterly 32 (1969): 137, figs. 11 & 14.

1971

  • Carli, Enzo. I pittori senesi. Siena, 1971: 56.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 68, 268, 277, 645, 660.

  • Cattaneo, Giulio and Edi Baccheschi. L’opera completa di Duccio. 1st ed. Milan, 1972: 7, 92, 93, pls. 22, 27, 61, figs. 68-70, 82.

1973

  • Preiser, Arno. Das Entstehen und die Entwicklung der Predella in der italienischen Malerei. Hildesheim and New York, 1973: 78.

  • Stubblebine, James H. "Duccio and His Collaborators on the Cathedral Maestà." The Art Bulletin 55 (1973): 185, 190, 203, fig. 1.

  • White, John. "Measurement, Design and Carpentry in Duccio’s Maestà, 1." The Art Bulletin 55 (1973): 335, 336, 343, 346, 348, 349, fig. 4.

  • White, John. "Measurement, Design and Carpentry in Duccio’s Maestà, 2." The Art Bulletin 55 (1973): 562, 566, fig. 78.

  • Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 79.

1974

  • Pesenti, Franco Renzo. "Dismembered works of art - Italian painting." In An Illustrated Inventory of Famous Dismembered Works of Art: European Painting. Paris, 1974: 20, 26-27, repro.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 112, repro.

1976

  • Stoichita, Victor Ieronim. Ucenicia lui Duccio di Buoninsegna. Bucharest, 1976: 39, 40, figs. 55, 59.

  • Fowles, Edward. Memories of Duveen Brothers. London, 1976: 183.

1977

  • Stubblebine, James H. "The Back Predella of Duccio’s Maestà." In Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss. Edited by Irving Lavin and John Plummer. 2 vols. New York, 1977: 1:430, 435, 436 n. 26.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:172; 2:pl. 120.

  • Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 17, pl. 1.

  • Sutton, Denys. "Robert Langton Douglas. Part I." Apollo 109 (April 1979): 295 [49], 296 [50] fig. 3.

  • Amico, Leonard N. "Reconstructing an Early Fourteenth Century Pentaptych by Ugolino di Nerio: St. Catherine Finds Her Niche." Bulletin Krannert Art Museum 5, no. 1 (1979): 13.

  • Carli, Enzo. Il Duomo di Siena. Genoa, 1979: 67-69.

  • Gardner von Teuffel, Christa. "The Buttressed Altarpiece: A Forgotten Aspect of Tuscan Fourteenth-Century Altarpiece Design." Jahrbuch der Berliner Museen 21 (1979): 36-41.

  • Hartt, Frederick. History of Italian Renaissance Art: Painting, Sculpture, Architecture. 2nd ed. New York, 1979: 104-105, fig. 99.

  • Stubblebine, James H. Duccio di Buoninsegna and His School. 2 vols. Princeton, 1979: 1:10, 31, 32, 36, 37, 55, 56, 62, 100, 107, pls. 581, 582, figs. 74, 93.

  • White, John. Duccio: Tuscan Art and the Medieval Workshop. New York, 1979: 57, 86, 89, 93, 102, 123, 125, pls. 11, 20, figs. 5, 27, 52.

1980

  • Conti, Alessandro. "Review of Duccio, Tuscan Art and the Medieval Workshop by John White." Prospettiva 23 (1980): 99-101.

1981

  • Carli, Enzo. La pittura senese del Trecento. 1st ed. Milan, 1981: 49.

  • Seidel, Max. "Das Frühwerk von Pietro Lorenzetti." Städel Jahrbuch 8 (1981): 105.

1983

  • Brink, Joel. "From Carpentry Analysis to the Discovery of Symmetry in Trecento Painting." In La pittura nel XIV e XV secolo, il contributo dell’analisi tecnica alla storia dell’arte. Edited by Hendrik W. van Os and J. R. J. van Asperen de Boer. Bologna, 1983: 347.

  • Pope-Hennessy, John. "Some Italian Primitives." Apollo 118 (1983): 10.

1984

  • Deuchler, Florens. Duccio. Milan, 1984: 73, 74, 76, 77, 214, 78 (repro.), pls. 134-136, 157.

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 68, no. 9, color repro.

  • Os, Hendrik W. van. Sienese Altarpieces 1215-1460. Form, Content, Function. 2 vols. Groningen, 1984-1990: 1(1984):43, 46, figs. 41, 42.

  • Brown, Howard Mayer. "Catalogus. A Corpus of Trecento Pictures with Musical Subject Matter, pt. 1." Imago Musicae 1 (1984): 242-243.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 137, repro.

  • Sutton, Denys. "Aspects of British Collecting, pt. 4." Apollo 122 (1985): 123, 124 repro.

  • Wilkins Sullivan, Ruth. "The Anointing in Bethany and Other Affirmations of Christ’s Divinity on Duccio’s Back Predella." The Art Bulletin 67 (1985): 33, 34, 35, 46-47, figs. 1, 2, 25.

1986

  • Leoncini, Monica. "Duccio di Boninsegna." In La Pittura in Italia. Il Duecento e il Trecento. Edited by Enrico Castelnuovo. 2 vols. Milan, 1986: 2:569.

1987

  • Simpson, Colin. The Partnership: The Secret Association of Bernard Berenson and Joseph Duveen. London, 1987: 236.

  • White, John. Art and Architecture in Italy, 1250 to 1400. The Pelican History of Art. 2nd (integrated) ed. Harmondsworth, Middlesex, 1987: 291, 627, figs. 173-174.

1988

  • Wheeler, Marion, ed. His Face: Images of Christ in Art, New York, 1988: 126, no. 45, color repro.

  • Sebag-Montefiore, Charles. "Three Lost Collections of London." National Art Collections Fund Magazine 38 (Christmas 1988): 54.

  • Davies, Martin, and Dillian Gordon. National Gallery Catalogues. The Earlier Italian Schools. Rev. ed. London, 1988: 17, 20.

  • Tronzo, William. "Between Icon and the Monumental Decoration of a Church: Notes on Duccio’s Maestà and the Definition of the Altarpiece." In Icon: Four Essays. Washington, DC; Baltimore, 1988: repro. 38-39.

  • Wilkins Sullivan, Ruth. "Duccio’s Raising of Lazarus Reexamined." The Art Bulletin 70 (1988): 375 n. 6.

1989

  • Bomford, David, Jill Dunkerton, Dillian Gordon, Ashok Roy, and Jo Kirby. Art in the Making: Italian Painting before 1400. Exh. cat. National Gallery, London, 1989: 73-74 (repro.), 190, fig. 40.

  • Carli, Enzo. Il Museo dell’Opera del Duomo. Opera della Metropolitana di Siena. Siena, 1989: 22.

  • Ragionieri, Giovanna. Duccio: catalogo completo dei dipinti. Florence, 1989: 12, 13, 14, 16, 88, 89, 104, repros.

  • Vos, Rik, and Hendrik W. van Os, eds. Aan de oorsprong van de schilderkunst: vroege italiaanse schilderijen in Nederlands bezit. The Hague, 1989: repro. 126.

  • "Duccio di Buoninsegna." In Dizionario della pittura e dei pittori. Edited by Enrico Castelnuovo and Bruno Toscano. 6 vols. Turin, 1989-1994: 2(1990):139.

1990

  • Boskovits, Miklós, and Serena Padovani. Early Italian Painting 1290-1470. The Thyssen-Bornemisza Collection. London, 1990: 72, 73, 74 fig. 2.

1991

  • Jannella, Cecilia. Duccio di Buoninsegna. Antella (Florence), 1991: 22, 24, 30, 31, 36, 38, pls. 28, 43.

  • Riedl, Helmut Philipp. Das Maestà-Bild in der sieneser Malerei des Trecento unter besonderer Berücksichtigung der Darstellung im Palazzo Comunale von San Gimignano. Tübingen, 1991: 16, figs. 8, 11.

  • Zeri, Federico. Giorno per giorno nella pittura: scritti sull’arte toscana dal Trecento al primo Cinquecento. Turin, 1991: 520, 521.

  • Bellosi, Luciano. "Duccio di Buoninsegna." In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 5(1994):746.

1992

  • National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 11, repro.

  • Hall, Nicholas H. J., ed. Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi, New York. New York, 1992: 9, 10, fig. 2.

  • Landi, Alfonso, and Enzo Carli (commentary). “Racconto” del Duomo di Siena (1655). Florence, 1992: 106-107 n. 21.

  • Schmidt, Victor M. "Duccio di Buoninsegna." In Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker. Edited by Günter Meissner. 87+ vols. Munich and Leipzig, 1992+: 30(2001):157.

1993

  • Harpring, Patricia. The Sienese Trecento Painter Bartolo di Fredi. London and Toronto, 1993: 70, repro. 72.

1996

  • Gordon, Dillian. “Duccio (di Buoninsegna).” In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 9:344-345.

  • Apostolos Cappadona, Diane. Encyclopedia of Women in Religious Art. New York, 1996: 47, fig. 14.

  • Popp, Dietmar. Duccio und die Antike: Studien zur Antikenvorstellung und zur Antikenrezeption in der sieneser Malerei am Anfang des 14. Jahrhunderts. Munich, 1996: fig. 41.

1997

  • Moskowitz, Anita Fiderer. "A Late Dugento Male Nude Studied from Life." Source: Notes in the History of Art 16 (1997): 7 n. 11.

1998

  • Bellosi, Luciano. Duccio, la Maestà. Milan, 1998: 17, 22, 264, 268, repro. 274.

1999

  • Schmidt, Victor M. "A Duccesque Fragment of the Coronation of the Virgin." Bulletin du Musée Hongrois des Beaux-Arts 90-91 (1999): 42 n. 10.

2001

  • Strehlke, Carl Brandon. "Carpentry and Connoisseurship: The Disassembly of Altarpieces and the Rise in Interest in Early Italian Art." In Rediscovering Fra Angelico: A Fragmentary History. Edited by Laurence B. Kanter and Carl Brandon Strehlke. Exh. cat. Yale University Art Gallery, New Haven, 2001: 41-42, repro.

2002

  • Schmidt, Victor M. "Duccesque Painting Representing St John the Baptist Bearing Witness in the Museum of Fine Arts." Bulletin du Musée Hongrois des Beaux-Arts 96 (2002): 54, repro. 55.

  • Seiler, Peter. "Duccio’s Maestà: The Function of the Scenes from the Life of Christ on the Reverse of the Altarpiece." In Italian Panel Painting of the Duecento and Trecento. Edited by Victor M. Schmidt. Studies in the History of Art 61 (2002): repros. 252 and 253, 271-272 n. 26.

2003

  • Bagnoli, Alessandro, Roberto Bartalini, Luciano Bellosi, and Michel Laclotte, eds. Duccio: Siena fra tradizione bizantina e mondo gotico. Exh. cat. Santa Maria della Scala, Siena; Museo dell’Opera del Duomo, Siena. Cinisello Balsamo (Milan), 2003: 218-220.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 10, no. 5, color repro.

  • Strehlke, Carl Brandon. Italian Paintings, 1250-1450, in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, 2004: 130-131 repro.

  • Secrest, Meryle. Duveen: A Life in Art. New York, 2004: 337.

  • Eclercy, Bastian. Suis manibus? Studien zur Beteiligung von Mitarbeitern am Entwurfsprozess von Duccios Maestà. Munich, 2004: 53, 74.

2006

  • Hartt, Frederick, and David G. Wilkins. History of Italian Renaissance Art: Painting, Sculpture, Architecture. 6th ed. Upper Saddle River, 2006: 106, color fig. 4.6, no. 12.

  • Sander, Jochen, Matthias Theodore Kloft, Rita Sauer, and Stefan Weppelmann. Kult Bild: das Altar- und Andachtsbild von Duccio bis Perugino. Exh. cat. Städelsches Kunstinstitut, Frankfurt am Main. Petersberg, 2006: 70, 71, 74.

2010

  • Sahaydachny, Antonina. "The Madonna Protectress of Siena in the Maestà Altarpiece by Duccio (1308-1311)." In 1308: eine Topographie historischer Gleichzeitigkeit. Edited by Andreas Speer and David Wirmer. Berlin, 2010: 664.

2011

  • Gordon, Dillian. The Italian Paintings Before 1400. National Gallery Catalogues. London, 2011: 175-176, under no. NG1330, color fig. 2.

2013

  • Cappelletti, Lorenzo. "La vocazione dei santi Pietro e Andrea, o piuttosto l’imposizione del nome di Cefa (Pietro) a Simone." Arte cristiana 101, no. 877 (2013): repro. 274.

  • "Vasari and the National Gallery of Art." National Gallery of Art Bulletin 48 (Spring 2013): 10-11, repro.

2015

  • Bowron, Edgar Peters. “Samuel H. Kress and His Collection of Italian Renaissance Paintings.” In A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America ed. Inge Reist. (The Frick Collection Studies in the History of Art Collecting in America, 2) University Park, Pennsylvania, 2015: 113, color fig. 49.

2016

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 81-102, color repro.

Wikidata ID

Q4015930

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