Saint Peter

c. 1310

Grifo di Tancredi

Painter, Italian, active 1271 - 1303 (or possibly 1328)

Grifo di Tancredi

Attributed to

Media Options

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This image, along with Christ Blessing and Saint James Major, originally occupied a single panel. They and two others—one now in a museum in France, the other lost—were cut from the same altarpiece. It would have been an imposing work with triangular gables (see Reconstruction). The considerable dimensions and elaborate ornamental decoration incised on the gold ground suggest that this altarpiece must have been a commission of some importance. However, the iconographic conventions and technical features (execution on a single panel) are of an archaizing type, which indicates that whoever ordered this painting wanted an artist like Grifo di Tancredi, who worked in a traditional style.

The young Giotto's influence was being felt in Florence at that time, but Grifo remained firmly in the orbit of the great Sienese master Cimabue and the artists of Grifo’s own generation. For these artists, producing the illusion of three-dimensional space was not of prime importance, and the influence of Eastern or Byzantine art was key. Grifo’s depiction of Saint Peter, for example, follows Byzantine convention in the light-carved furrows of Peter’s brow, the forked lines rising from the bridge of his nose, the profuse waves of gray curls enlivening his brooding expression, and the saint’s penetrating gaze.

Until the late 1980s, Grifo’s identity was unknown. His works had been mostly collected in a group of paintings related to the San Gaggio altarpiece (Galleria dell’Accademia in Florence) assigned to the “Master of San Gaggio,” but a single, difficult-to-read inscription on one of these paintings was deciphered and Grifo was saved from anonymity.

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Artwork overview

  • Medium

    tempera on panel

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    painted surface (top of gilding): 61.5 × 34.5 cm (24 3/16 × 13 9/16 in.)
    painted surface (including painted border): 64.2 × 34.5 cm (25 1/4 × 13 9/16 in.)
    overall: 66.2 × 36.6 × 1 cm (26 1/16 × 14 7/16 × 3/8 in.)

  • Accession Number

    1937.1.2.a

Associated Artworks

Shown from the waist up, a pale-skinned man with long, honey-blond hair and beard faces us in front of a gold background in this vertical painting. The man has a long face and nose, with closed peach-colored lips, which turn slightly down at the corners. Almond-shaped, hazel-brown eyes under arched brows stare over our left shoulder. His rose-pink robe is covered by a spruce-blue mantle that drapes over the left shoulder, on our right, and wraps around the waist. The robe and mantle are trimmed with gold. His right hand, on our left, is raised with the index and middle fingers extended up. The other hand holds an open book so the pages face us. The top edge of the pages is burnt orange, and the left and right edges are moss green. The side facing us is inscribed in gold letters, “ECO SUM LUX MUNDI.” A halo incised into the gold background surrounds the man’s head, and clusters of five dots in dark red, blue, and black are placed at the top and to either side within the halo. The panel on which this is painted has a five-sided, angular arch on top that frames the man’s head. A border within the frame has a pattern of gray circles and scarlet-red diamonds against a navy-blue band. The border follows the contours of the panel but runs behind the man’s body, as if he stands in front of it. The panel is framed with dark wood.

Christ Blessing

Grifo di Tancredi

1310

Saint James Major

Grifo di Tancredi

1310

More About this Artwork

Scholarly Article:  Italian Paintings of the Thirteenth and Fourteenth Centuries: Saint Peter, c. 1310

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

By 1808 in the collection of Alexis-François Artaud de Montor [1772-1849], Paris, who probably purchased the panels during one of his several periods of residence in Italy;[1] (his estate sale, Seigneur and Schroth at Hotel des Ventes Mobilières, Paris, 16-17 January 1851, nos. 35, 36, and 39 [with 1937.1.2.b and .c, as by Margaritone d’Arezzo]); Julien Gréau [1810-1895], Troyes; by inheritance to his daughter, Marie, comtesse Bertrand de Broussillion, Paris;[2] purchased September 1919 by (Duveen Brothers, Inc., Paris, New York, and London);[3] Carl W. Hamilton [1886-1967], New York, by 1920;[4] returned to (Duveen Brothers, Inc.); sold 15 December 1936 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[5] gift 1937 to NGA.
[1] On Artaud de Montor, apart from the unpublished doctoral dissertation of Roland Beyer for the University of Strasbourg in 1978, see Jacques Perot, "Canova et les diplomates français à Rome. François Cacault et Alexis Artaud de Montor,” Bullettin de la Société de l’Histoire de l’Art français (1980): 219-233, and Andrea Staderini, “Un contesto per la collezione di primitivi di Alexis-François Artaud de Montor (1772-1849),” Proporzioni. Annali della Fondazione Roberto Longhi 5 (2004): 23-62.
[2] This information on the post-Artaud de Montor provenance of the work was gleaned at the time Duveen Brothers, Inc., purchased the three panels. See the Duveen prospectus, in NGA curatorial files; Edward Fowles, Memories of Duveen Brothers, London, 1976: 116.
[3] Fowles 1976, 116; Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 85, box 230, folder 25, and reel 422. The Duveen record indicates that they purchased the painting in Paris from Hilaire Gréau, a son of Julien Gréau.
[4] The three panels were exhibited as “lent by Carl W. Hamilton” in the New York exhibition in 1920. Fern Rusk Shapley (Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:134) also states that they were formerly in the Hamilton collection, and it is reported that “the Cimabue altarpiece was seen in Hamilton’s New York apartment” by 1920 (see Colin Simpson, Artfull Partners. Bernard Berenson and Joseph Duveen, New York, 1986: 199). However, this and other pictures had actually been given to Hamilton on credit by Duveen Brothers (see Meryle Secrest, Duveen. A Life in Art, New York, 2004: 422) and were probably returned to the dealers by 1924, when they were shown as "lent anonymously" at the exhibition of early Italian paintings in American collections held by the Duveen Galleries in New York.
[5] The original bill of sale is in Records of The A.W. Mellon Educational and Charitable Trust, Subject Files, box 2, Gallery Archives, NGA; copy in NGA curatorial files.

Associated Names

Exhibition History

1920

  • Fiftieth Anniversary Exhibition, The Metropolitan Museum of Art, New York, 1920, unnumbered catalogue.

1924

  • Loan Exhibition of Important Early Italian Paintings in the Possession of Notable American Collectors, Duveen Brothers, New York, 1924, no. 2, as by Giovanni Cimabue (no. 1 in illustrated 1926 version of catalogue).

1935

  • Exposition de L'Art Italien de Cimabue à Tiepolo, Petit Palais, Paris, 1935, no. 110.

1979

  • Berenson and the Connoisseurship of Italian Painting, National Gallery of Art, Washington, D.C., 1979, no. 81.

2014

  • La fortuna dei primitivi: Tesori d’arte dalle collezioni italiane fra Sette e Ottocento [The Fortunes of the Primitives: Artistic Treasures from Italian Collections between the Eighteenth and Nineteenth Centuries], Galleria dell'Accademia, Florence, 2014, no. 79a, repro.

Bibliography

1808

  • Artaud de Montor, Alexis-François. Considérations sur l’état de la peinture en Italie, dans les quatre siècles qui ont précédé celui de Raphaël: par un membre de l’académie de Cortone. Ouvrage servant de catalogue raisonné à une collection de tableaux des XIIe, XIIIe, XIVe et XVe siècles. Paris, 1808: no. 31.

1811

  • Artaud de Montor, Alexis-François. Considérations sur l’état de la peinture en Italie, dans les quatre siècles qui ont précédé celui de Raphaël, par un membre de l’Académie de Cortone (Artaud de Montor). Ouvrage servant de catalogue raisonné à une collection de tableaux des XIIe, XIIIe, XIVe et XVe siècles. Paris, 1811: no. 36.

1843

  • Artaud de Montor, Alexis-François. Peintres primitifs: collection de tableaux rapportée d’Italie. Paris, 1843: no. 36.

1920

  • Berenson, Bernard. "Italian Paintings." Bulletin of the Metropolitan Museum of Art 15 (1920): 159-160, repro.

  • Robinson, Edward. "The Fiftieth Anniversary Celebration." Bulletin of the Metropolitan Museum of Art 15 (1920): 75.

  • Berenson, Bernard. "A Newly Discovered Cimabue." Art in America 8 (1920): 251-271, repro. 250.

  • Fiftieth Anniversary Exhibition. Loans and Special Features. Exh. cat. Metropolitan Museum of Art, New York, 1920: 8.

1922

  • Sirén, Osvald. Toskanische Maler im XIII. Jahrhundert. Berlin, 1922: 299-301, pl. 114.

1923

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 1(1923):476, 574; 5(1925):442, fig. 262.

1924

  • Vitzthum, Georg Graf, and Wolgang Fritz Volbach. Die Malerei und Plastik des Mittelalters in Italien. Handbuch der Kunstwissenschaft 1. Wildpark-Potsdam, 1924: 249-250.

  • Offner, Richard. "A Remarkable Exhibition of Italian Paintings." The Arts 5 (1924): 241 (repro.), 244.

  • Loan Exhibition of Important Early Italian Paintings in the Possession of Notable American Collectors. Exh. cat. Duveen Brothers, New York, 1924: no. 2.

1926

  • Valentiner, Wilhelm R. A Catalogue of Early Italian Paintings Exhibited at the Duveen Galleries, April to May 1924. New York, 1926: n.p., no. 1, repro.

1927

  • Toesca, Pietro. Il Medioevo. 2 vols. Storia dell’arte italiana, 1. Turin, 1927: 2:1040 n. 48.

1930

  • Berenson, Bernard. Studies in Medieval Painting. New Haven, 1930: 17-31, fig. 14.

1931

  • Fry, Roger. "Mr Berenson on Medieval Painting." The Burlington Magazine for Connoisseurs 58, no. 338 (1931): 245.

  • Venturi, Lionello. Pitture italiane in America. Milan, 1931: no. 8, repro.

1932

  • Marle, Raimond van. Le scuole della pittura italiana. 2 vols. The Hague and Florence, 1932-1934: 1(1932):495-496, fig. 321.

  • Berenson, Bernard. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Oxford, 1932: 150.

  • Nicholson, Alfred. Cimabue: A Critical Study. Princeton, 1932: 59.

1933

  • Venturi, Lionello. Italian Paintings in America. Translated by Countess Vanden Heuvel and Charles Marriott. 3 vols. New York and Milan, 1933: 1:no. 10, repro.

1935

  • Muratov, Pavel P., and Jean Chuzeville. La peinture byzantine. Paris, 1935: 143.

  • Escholier, Raymond, Ugo Ojetti, Paul Jamot, and Paul Valéry. Exposition de l’art italien de Cimabue à Tiepolo. Exh. cat. Musée du Petit Palais. Paris, 1935: 51.

  • Salmi, Mario. "Per il completamento di un politico cimabuesco." Rivista d’arte 17 (1935): 113-120, repro. 115.

  • Serra, Luigi. "La mostra dell’antica arte italiana a Parigi: la pittura." Bollettino d’arte 29 (1935-1936): 31, repro. 33.

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: 129.

1937

  • "The Mellon Gift. A First Official List." Art News 35 (20 March 1937): 15.

1941

  • Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 4, repro., as by Cimabue.

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 41, no. 2, as by Cimabue.

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

  • Coletti, Luigi. I Primitivi. 3 vols. Novara, 1941-1947: 1(1941):37.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 85, as by Cimabue.

1943

  • Sinibaldi, Giulia, and Giulia Brunetti, eds. Pittura italiana del Duecento e Trecento: catalogo della mostra giottesca di Firenze del 1937. Exh. cat. Galleria degli Uffizi. Florence, 1943: 277.

1946

  • Salvini, Roberto. Cimabue. Rome, 1946: 23.

1947

  • Offner, Richard. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. V: Master of San Martino alla Palma; Assistant of Daddi; Master of the Fabriano Altarpiece. New York, 1947: 216 n. 1.

1948

  • Longhi, Roberto. "Giudizio sul Duecento." Proporzioni 2 (1948): 19, 47, fig. 37.

  • Pope-Hennessy, John. "Review of Proporzioni II by Roberto Longhi." The Burlington Magazine 90 (1948): 360.

1949

  • Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 5, repro.

  • Garrison, Edward B. Italian Romanesque Panel Painting: An Illustrated Index. Florence, 1949: 172-173, repro.

  • Carli, Enzo. "Cimabue." In Enciclopedia Cattolica. 12 vols. Vatican City, 1949-1954: 3(1949):1614, repro.

1951

  • Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 16-18, repro., as by Cimabue.

  • Galetti, Ugo, and Ettore Camesasca. Enciclopedia della pittura italiana. 3 vols. Milan, 1951: 1:642; 2:1486.

1955

  • Ragghianti, Carlo Ludovico. Pittura del Dugento a Firenze. Florence, 1955: 127, fig. 186.

1956

  • Laclotte, Michel. De Giotto à Bellini: les primitifs italiens dans les musées de France. Exh. cat. Musée de l’Orangerie, Paris, 1956: 15.

  • Samek Ludovici, Sergio. Cimabue. Milan, 1956: 42-44, 48.

  • Longhi, Roberto. "Giudizio sul Duecento (1948)." In Edizione delle opere complete di Roberto Longhi. 14 vols. Florence, 1956-2000: 7(1974):14, 44, pl. 36.

1958

  • Salvini, Roberto. "Cimabue." In Enciclopedia Universale dell’Arte. Edited by Istituto per la collaborazione culturale. 15 vols. Florence, 1958-1967: 3(1960):473.

  • Marcucci, Luisa. Gallerie nazionali di Firenze. Vol. 1, I dipinti toscani del secolo XIII. Rome, 1958: 56.

1960

  • Boskovits, Miklós. "Cenni di Pepe (Pepo), detto Cimabue." In Dizionario biografico degli italiani. Edited by Alberto Maria Ghisalberti. 82+ vols. Rome, 1960+: 23(1979):542.

  • Le Musée des Beaux-Arts de Chambéry. Chambéry, 1960: n.p., fig. 15.

1962

  • Hager, Hellmut. Die Anfänge des italienischen Altarbildes. Untersuchungen zur Entstehungsgechichte des toskanischen Hochaltarretabels. Munich, 1962: 111-112.

1963

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

  • Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 1:50, fig. 4.

  • Longhi, Roberto. "In traccia di alcuni anonimi trecentisti." Paragone 14 (1963): 10.

1964

  • Previtali, Giovanni. La fortuna dei primitivi: dal Vasari ai neoclassici. Turin, 1964: 232.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 28.

1967

  • Previtali, Giovanni. Giotto e la sua bottega. Milan, 1967: 26.

  • Salmi, Mario. "La donazione Contini Bonacossi." Bollettino d’arte 52 (1967): 223, 231 n. 1.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 21, repro.

1969

  • Volpe, Carlo. "La formazione di Giotto nella cultura di Assisi." In Giotto e i giotteschi in Assisi. Rome, 1969: 38.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 54, 403, 440, 645.

1974

  • Previtali, Giovanni. Giotto e la sua bottega. 2nd ed. Milan, 1974: 26.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 70, repro., as Attributed to Cimabue.

1976

  • Fowles, Edward. Memories of Duveen Brothers. London, 1976: 116.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:134-135; 2:pl. 94.

1982

  • Pietralunga, Fra Ludovico da, and Pietro Scarpellini (intro. and comm.). Descrizione della Basilica di S. Francesco e di altri Santuari di Assisi. Treviso, 1982: 416.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 90, repro.

1986

  • Guerrini, Alessandra. "Maestro di San Gaggio." In La Pittura in Italia. Il Duecento e il Trecento. Edited by Enrico Castelnuovo. 2 vols. Milan, 1986: 2:625.

  • Simpson, Colin. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986: 199.

1987

  • Marques, Luiz. La peinture du Duecento en Italie centrale. Paris, 1987: 202, 286, fig. 253.

1990

  • Tartuferi, Angelo. La pittura a Firenze nel Duecento. Florence, 1990: 63, 109.

  • Damian, Véronique, and Jean-Claude Giroud. Peintures florentines. Collections du Musée de Chambéry. Chambéry, 1990: 23, 66-67.

1992

  • Chiodo, Sonia. "Grifo di Tancredi." In Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker. Edited by Günter Meissner. 87+ vols. Munich and Leipzig, 1992+: 62(2009):129.

1993

  • Previtali, Giovanni, and Giovanna Ragionieri. Giotto e la sua bottega. Edited by Alessandro Conti. 3rd ed. Milan, 1993: 36.

  • Boskovits, Miklós. A Critical and Historical Corpus of Florentine Painting. Sec. I, Vol. I: The Origins of Florentine Painting, 1100–1270. Florence, 1993: 732 n. 1, 809.

1996

  • "Artaud de Montor, Jean Alex Francis." In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 2:514.

1998

  • Frinta, Mojmír S. Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998: 442, 443.

  • Bellosi, Luciano. Cimabue. Edited by Giovanna Ragionieri. 1st ed. Milan, 1998: 287, 289.

1999

  • Bagemihl, Rolf. "Some Thoughts About Grifo di Tancredi of Florence and a Little-Known Panel at Volterra." Arte cristiana 87 (1999): 413-414.

2001

  • Offner, Richard, Miklós Boskovits, Ada Labriola, and Martina Ingendaay Rodio. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. V: Master of San Martino alla Palma; Assistant of Daddi; Master of the Fabriano Altarpiece. 2nd ed. Florence, 2001: 472 n. 1.

2002

  • Tartuferi, Angelo. "Grifo di Tancredi." In Dizionario biografico degli italiani. Edited by Alberto Maria Ghisalberti. 82+ vols. Rome, 1960+: 59(2002):398.

2004

  • Secrest, Meryle. Duveen: A Life in Art. New York, 2004: 422.

  • Bellosi, Luciano. "La lezione di Giotto." in Storia delle arti in Toscana. Il Trecento. Edited by Max Seidel. Florence, 2004: 96.

  • Staderini, Andrea. "Un contesto per la collezione di ‘primitivi’ di Alexis-François Artaud de Montor (1772-1849)." Proporzioni 5 (2004): 38.

2005

  • Leone De Castris, Pierluigi. "Montano d’Arezzo a San Lorenzo." In Le chiese di San Lorenzo e San Domenico: gli ordini mendicanti a Napoli. Edited by Serena Romano and Nicolas Bock. Naples, 2005: 109.

2007

  • Bellosi, Luciano, and Giovanna Ragionieri. Giotto e la sua eredità: Filippo Rusuti, Pietro Cavallini, Duccio, Giovanni da Rimini, Neri da Rimini, Pietro da Rimini, Simone Martini, Pietro Lorenzetti, Ambrogio Lorenzetti, Matteo Giovannetti, Masso di Banco, Puccio Capanna, Taddeo Gaddi, Giovanni da Milano, Giottino, Giusto de’Menabuoi, Altichiero, Jacopo Avanzi, Jean Pucelle, i Fratelli Limbourg. Florence, 2007: 68, fig. 42.

2014

  • Tartuferi, Angelo, and Gianluca Tormen. La fortuna dei primitivi: Tesori d’arte dalle collezioni italiane fra Sette e Ottocento. Exh. cat. Galleria dell’Accademia. Florence, 2014: 427-429, repros.

2016

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 177-188, color repro.

Wikidata ID

Q20172983

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