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Overview

The composition of this Virgin and Child is loosely based on the Hodegetria, one of the more powerful and enduring icon types of the Orthodox Christian church. The Virgin gestures toward the child to show him as the “way” (hodos in Greek), the source of salvation. The throne and her red shoes present her as the Queen of Heaven, and the archangels in the roundels beside her hold imperial regalia, which are typical attributes of archangels. The first of this type, housed in the Hodegon monastery in Constantinople, was an active part of civic and religious life in the Byzantine capital. Said to produce miracles daily, it was taken out of the monastery every Tuesday so the public could see it. It was invoked against plague and carried by imperial armies as a talisman in battle.

Expert opinion differs about the origin of this painting (known as the Kahn Madonna after an earlier owner) and the National Gallery of Art’s Madonna and Child on a Curved Throne, also of Byzantine origin. The soft shadows of this Virgin’s face and her tender expression are paralleled in a mosaic of Mary in the great basilica of Hagia Sophia in Istanbul (formerly Constantinople).

Byzantine art made a powerful impact on 13th-and 14th-century Italian painting, which emphasizes the spiritual world of Paradise, with elongated and weightless figures, more like spirits than physical human beings, skies of heavenly gold, and flat, stylized patterning of drapery. The gold striations that define folds in clothing, the round volume of Mary’s veiled head, and Jesus’s frontal pose—looking more like a miniature adult than a child—are all part of the Byzantine tradition.

Entry

The painting shows the Virgin seated on an elaborate wooden throne with openwork decoration. She supports the blessing Christ child on her left arm, according to the iconographic tradition of the Hodegetria.[1] Mary [fig. 1] is wearing a purple dress and a deep blue mantle highlighted with brilliant chrysography. Bearing a scroll in his left hand, the child [fig. 2] is wearing a red tunic fastened around his waist with a blue fabric belt supported by straps that encircle his shoulders. This motif perhaps alludes to his sacerdotal dignity.[2] In the upper corners of the panel, at the level of the Virgin’s head, are two circular medallions containing busts of archangels [fig. 3], each wearing a garment decorated with a loros and with scepter and sphere in hand.[3]

Art historians have held sharply different views on not only the attribution of the painting but also its origin and even its function. Apart from Osvald Sirén’s attribution to Pietro Cavallini (1918),[4] the critical debate that developed after its first appearance at a sale in New York in 1915 (where it was cataloged under the name of Cimabue) almost always considered the painting together with Madonna and Child on a Curved Throne. For a discussion of the problems surrounding both panels and some further proposals, see the catalog entry for the latter painting.

Miklós Boskovits (1935–2011)

March 21, 2016

Provenance

Said to have come from a church, or convent, in Calahorra (province of La Rioja, Spain);[1] (art market, Madrid), in 1912. (Herbert P. Weissberger, Madrid).[2] (Emile Pares, Madrid, Paris, and New York); (his sale, Anderson Galleries, New York, 18-19 February 1915, 2nd day, no. 306, as by Giovanni Cimabue); (Emile Pares, Madrid, Paris, and New York);[3] sold 26 November 1915 to (F. Kleinberger & Co., New York).[4] Otto Kahn [1867-1934], New York, by 1917;[5] by inheritance to his widow, Addie Wolff Kahn [d. 1949], New York;[6] gift 1949 to NGA.

[1] The provenance was first published as “from the Cathedral of Calahara, Spain” in the 1915 sale catalog of the Emile Pares collection, and it is repeated with various modifications in the subsequent literature. Although the Spanish provenance has sometimes been doubted, NGA Systematic Catalogue author, the late Miklòs Boskovits, did not see any firm basis for such an allegation. He asked why should such an apparently unlikely provenance be fabricated for a painting considered to be, as was the Kahn Madonna, the work of an Italian artist, Cimabue or Cavallini. Boskovits considered speculations like those put forward by August Mayer (“Correspondence,” Art in America 12 [1924]: 234-235) and James Stubblebine (“Two Byzantine Madonnas form Calahorra Spain,” The Art Bulletin 48 [1966]: 379-381), linking the arrival of NGA 1949.7.1 and its companion-piece (NGA 1937.1.1) to Spain with the story of Anna Constance, widow of the emperor John III Ducas Vatatzes (who lived in Valencia since 1269 and died there in 1313), to be, for the time being, idle. There could be various other ways to explain the presence of the two paintings at Calahorra (see Otto Demus, “Zwei Konstantinopler Marienikonen des 13. Jahrhunderts,” Jahrbuch der Österreichischen Byzantinischen Gesellschaft 7 [1958]: 93-94); the provenance should, according to Boskovits, be considered valid until demonstrated otherwise. As Rolf Bagemihl wrote to David Alan Brown (letter of July 1992, in NGA curatorial files): “There has been a confusion and deprecation of the Calahorra provenance, but Parès[sic] was a serious collector and it might be profitable to have some research done on his collection, and right in Calahorra.”

[2] In 1949 Edward B. Garrison (Italian Romanesque Panel Painting, Florence, 1949: 44, no. 23) included Madrid and Weissberger (Garrison spelled the name Weissburger) in his provenance of the painting, without including any dates. In 1982 Hans Belting (“The ‘Byzantine’ Madonnas: New Facts about their Italian Origins and Some Observations on Duccio,” Studies in the History of Art 12 [1982]: 7, 21 n. 2) wrote that the painting had come on the art market in Madrid in 1912, and that it was Weissberger who claimed the painting had come from Calahorra. However, according to Belting, Robin Cormack found in Edward B. Garrison’s papers (at the Courtauld Institute, London) the information that Weissberger had fabricated the Calahorra provenance, information that Cormack referred to in a lecture given at Dumbarton Oaks in Washington in 1979.

[3] The purchaser at the Pares sale is recorded as G.W. Arnold in an annotated copy of the sale catalogue in the NGA Library, as well as in a report on the sale in American Art News (27 February 1915): 7. Arnold is also given as the purchaser of other lots. However, there is a Pares invoice for the sale of the painting to Kleinberger later in the year (see note 4), so perhaps Arnold was buying for Pares, and the painting was actually bought in. Indeed, Osvald Sirén writes about the sale: “Somehow none of the New York collectors or dealers at that time seems to have grasped the artistic and historical importance of the work; the bidding was very slow, and the original purchaser retained his treasure. When I came to New York about a year later [early 1916] the picture was in the hands of a well known dealer…” (“A Picture by Pietro Cavallini,” The Burlington Magazine for Connoisseurs 32, no. 179 [February 1918]: 45).

[4] The Pares invoice for the sale to Kleinberger describes the painting as "Vierge[sic] sur pauneau garanté du 13th siecle. provenant de la Cathèdrale de Calahorra" (Kleinberger files in the Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 251, box 396, folder 5; copy in NGA curatorial files).

[5] Kahn owned the painting by the time he lent it to an exhibition at Kleinberger Galleries that was on view in November 1917. It has not yet been determined when and from whom Kahn purchased the painting, although it was possibly from Kleinberger.

[6] Although Duveen Brothers asked at least in 1941 what price Mrs. Kahn would accept for the painting, she specifically told them it was not for sale and that it was not to be shown to anyone (the dealer was storing the painting for her); Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 328, box 473, folder 2; copies in NGA curatorial files.

Associated Names

American Art Association
Arnold, G.W.
Kahn, Otto H.
Kahn, Otto H., Mrs.
Pares, Emile
Weissberger

Exhibition History

1917: Loan Exhibition of Italian Primitives, F. Kleinberger Galleries, New York, 1917, no. 69, repro., as The Madonna and Child by Pietro Cavallini.

Technical Summary

The support is a three-member poplar panel [1] with the grain running vertically. Thinned and cradled during an undocumented treatment,[2] the panel is still set in part of its original engaged frame, which has probably been reduced from its original width. The studs decorating the frame molding are original, although they have been overpainted. The white gesso ground [3] is applied over a fabric that covers not only the painted surface but also the engaged frame.[4] The gold leaf was laid over an orange bole. Incised lines were used to outline the figures, and a green underpainting is visible in the flesh tones. The incised decoration of the halos apparently was executed freehand, and the additional decoration of the halos was created by dripping a resinous material onto the gold, as opposed to punchwork. The panel has a convex warp. A vertical crack runs from the top of the painting to the Virgin’s nose. Two additional cracks appear on the left side of the panel, running through the bust of the angel on the left. The join of the two boards on the right side, passing through the face of the angel, has opened from the top to the bottom. Worm tunneling is evident both on the surface of the panel and in the x-radiographs. The painting is in a generally fair state, although there is inpainting in the various small losses in the gilding overlaying the damages of the wooden support, as well as some lacunae in the Virgin’s cloak. The head and dress of the angel to the right and the area of gold ground above the Virgin’s head are also inpainted. In addition, the inpainting extends to the cloak covering the Madonna’s head.

Bibliography

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2003: Pasut, Francesca. A Critical and Historical Corpus of Florentine Painting. Supplementary Volume. Vol. 2: Ornamental Painting in Italy (1250–1310). An Illustrated Index. Edited by Miklós Boskovits. Florence, 2003: 125 n. 20.

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2005: Folda, Jaroslav. Crusader Art in the Holy Land: From the Third Crusade to the Fall of Acre, 1187-1291. New York, 2005: 457, 557, fig. 299.

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2013: Harris, Neil. Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience. Chicago and London, 2013: 246, 250.

2015: Folda, Jaroslav, with a contribution by Lucy J. Wrapson. Byzantine Art and Italian Panel Painting: The Virgin and Child "Hodegetria" and the Art of Chrysography. Cambridge, England, 2015: 105, 115-122, 128-131, 193-194, pl. 19, 323-329 notes.

2016: Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 38-43, color repro.

2016: National Gallery of Art. Highlights from the National Gallery of Art, Washington. Washington, 2016: 35, repro.

2020: Castiñeiras, Manuel. "Un nuovo contesto per la Madonna Kahn? Michele VIII, l'unione delle Chiese e la sconcertante connessione con Calahorra." Arte Medievale serie 4, 10 (2020): 261-282, figs. 1, 3, 5 (detail), 10a (x-ray image), 10b (detail), 11 (reconstruction), 12, 14 (detail), and 15a-d (details).

Enthroned Madonna and Child, c. 1250/1275