Madonna and Child

c. 1310/1315

Giotto

Artist, Florentine, c. 1265 - 1337

A woman with pale skin holds a baby in the crook of her left arm, on our right, against a gold background in this vertical, arched wooden panel. The woman is shown from the waist up with her body angled slightly to our right. She wears a dark blue mantle that drapes over her head and shoulders, and across her body. The garment has a gold border and celery-green lining where it turns over at her wrists and chest. There is a gold starburst-like symbol on her right shoulder, our left, and she holds a stylized rose with her right hand. The baby is nude except for a translucent white cloth, also edged with a gold border, wrapped around his waist and legs. His face and body look more like a small man than a baby, but there are baby-like rolls at his wrists. He has blond wavy hair. He grips the woman's forefinger on the hand that holds his body, and he reaches for the rose she holds with his other hand. The gold background is punched to create halos around their heads and decorative bands along the inner edge of the curving, arched top.

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Giotto's explorations and innovations in art during the early 14th century developed, a full century later, into the Italian Renaissance. Besides making panel paintings, he executed many fresco cycles—the most famous at the Arena Chapel, Padua—and he also worked as an architect and sculptor.

Transformed by Giotto, the stylized figures in paintings such as the Enthroned Madonna and Child took on human, believable qualities. Whereas his Sienese contemporary Duccio concentrated on line, pattern, and shape arranged on a flat plane, the Florentine Giotto emphasized mass and volume, a classical approach to form. By giving his figures a blocky, corporeal character, the artist introduced great three-dimensional plasticity to painting.

Painted during the latter part of Giotto's career, the Madonna and Child was the central part of a five-section polyptych, or altarpiece in many panels (see Reconstruction). Giotto utilized a conservative Byzantine-style background in gold leaf, symbolizing the realm of heaven, and included a white rose, the traditional symbol of Mary's purity as well as a reference to the innocence lost through Original Sin. Yet, the Madonna and Child introduces a new naturalistic trend in painting. Instead of making the blessing gesture of a philosopher, the infant Christ grasps his mother's left index finger in a typically baby-like way as he playfully reaches for the flower that she holds.

On View

West Building Main Floor, Gallery 1

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Artwork overview

  • Medium

    tempera on poplar panel

  • Credit Line

    Samuel H. Kress Collection

  • Dimensions

    painted surface: 85.4 × 61.8 cm (33 5/8 × 24 5/16 in.)
    overall (including added strips): 87.7 × 63.2 × 1.3 cm (34 1/2 × 24 7/8 × 1/2 in.)
    framed: 128.3 x 72.1 x 5.1 cm (50 1/2 x 28 3/8 x 2 in.)

  • Accession

    1939.1.256

More About this Artwork

A woman with pale skin holds a baby in the crook of her left arm, on our right, against a gold background in this vertical, arched wooden panel. The woman is shown from the waist up with her body angled slightly to our right. She wears a dark blue mantle that drapes over her head and shoulders, and across her body. The garment has a gold border and celery-green lining where it turns over at her wrists and chest. There is a gold starburst-like symbol on her right shoulder, our left, and she holds a stylized rose with her right hand. The baby is nude except for a translucent white cloth, also edged with a gold border, wrapped around his waist and legs. His face and body look more like a small man than a baby, but there are baby-like rolls at his wrists. He has blond wavy hair. He grips the woman's forefinger on the hand that holds his body, and he reaches for the rose she holds with his other hand. The gold background is punched to create halos around their heads and decorative bands along the inner edge of the curving, arched top.

Scholarly Article:  Italian Paintings of the Thirteenth and Fourteenth Centuries: Madonna and Child, c. 1310/1315

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

Probably commissioned for the church of Santa Croce or the church of Ognissanti, both Florence.[1] Edouard-Alexandre de Max [1869-1924], Paris;[2] sold 1917 to (Duveen Brothers, Inc., London, New York, and Paris); sold to Henry Goldman [1857-1937], New York, by 1920;[3] sold 1 February 1937 back to (Duveen Brothers, Inc., London, New York, and Paris);[4] sold 1939 to the Samuel H. Kress Foundation, New York;[5] gift 1939 to NGA.
[1] Peter Murray's compilation of polyptychs by Giotto (An Index of attributions made in Tuscan Sources before Vasari, Florence, 1959: 79-89), complemented by the work of Michael Viktor Schwarz and Pia Theis (Giottus pictor, 2 vols., Viienna, Cologne, and Weimar, 2004: 1:285-303), lists, apart from the polyptych in the church of the Badia in Florence, four panels in the church of Santa Croce, one in San Giorgio alla Costa, a Crucifix and a now lost image of Saint Louis of Toulouse formerly in Santa Maria novella, and a Crucifix and four panels in Ognissanti.
[2] Edward Fowles, who managed the Paris office of Duveen Brothers, recalls in his memoirs, “In the autumn of 1917, our old friend Charles Wakefield Mori took me to see an early Florentine Madonna and Child (attributed to Giotto) which belonged to Max, the famous actor of the Comédie Française [in Paris]. As I examined the painting in Max’s bedroom . . . he told me it had been given to his great aunt by the Pope. Berenson considered it an excellent work . . . [by Bernardo Daddi] . . . we agreed to purchase the painting. Berenson later supervised its cleaning and confessed that he was beginning to perceive certain Giottesque qualities . . . I had an Italian frame made for the painting. . . .” (Edward Fowles, Memories of Duveen Brothers, London, 1976: 104). In a letter of 31 October 1958, to Carlyle Burrows (see note 5 below), Fowles relates that he “bought the picture just 44 years ago,” which would have put the purchase in 1914 (Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 101, box 246, folder 3; copy in NGA curatorial files). The former owner’s story about the painting’s provenance does not seem plausible; at any rate no evidence can be adduced to corroborate it. On the Romanian-born Edouard de Max, friend of Cocteau and leading tragedian on the Parisian stage in the first decade of the century, see Louis Delluc, Chez de Max, Paris, 1918.
[3] The painting was displayed in the Fiftieth Anniversary Exhibition (1920) at the Metropolitan Museum of Art, New York, as part of the Goldman Collection.
[4] See the letter of 5 January 1937, from Henry Goldman to Duveen Brothers, in which he confirms the sale to the company of nine paintings and one sculpture (Duveen Brothers Records, reel 312, box 457, folder 4; see also reel 89, box 234, folder 23, and reel 101, box 246, folders 2 and 3; copies in NGA curatorial files).
[5] Carlyle Burrows states this in an article in the New York Herald Tribune (30 October 1958): 5. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1327.

Associated Names

Exhibition History

1920

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

1924

  • Loan Exhibition of Important Early Italian Paintings in the Possession of Notable American Collectors, Duveen Brothers, New York, 1924, no. 15, as by Bernardo Daddi (no. 2 in illustrated 1926 version of catalogue, as by Giotto, or an Assistant).

1930

  • Exhibition of Italian Art 1200-1900, Royal Academy of Arts, London, 1930, no. 16, as Attributed to Giotto (no. 8, pl. V in commemorative catalogue published 1931; not in souvenir catalogue).

1979

  • Berenson and the Connoisseurship of Italian Painting, National Gallery of Art, Washington, D.C., 1979, no. 43, repro.

2012

  • Florence at the Dawn of the Renaissance: Painting and Illumination, 1300-1350, J. Paul Getty Museum, Los Angeles; Art Gallery of Ontario, Toronto, 2012-2013, no. 2, repro. (shown only in Los Angeles).

2013

  • Giotto e compagni, Musée du Louvre, Paris, 2013, no. 12, repro.

Bibliography

1920

  • Berenson, Bernard. "Italian Paintings." Bulletin of the Metropolitan Museum of Art 15 (1920): 160, 161 repro., as by Bernardo Daddi.

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

1922

  • Valentiner, Wilhelm R. The Henry Goldman Collection. New York, 1922: n.p., Introduction, no. 1.

1923

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 3(1924):190, fig. 112.

1924

  • Offner, Richard. "A Remarkable Exhibition of Italian Paintings." The Arts 5 (1924): 243 (repro.), 244.

1925

  • Mather, Frank Jewett. "Two Attributions to Giotto." Art Studies 3 (1925): 25-27, fig. 2.

  • Weigelt, Curt H. Giotto: des Meisters Gemälde. Stuttgart, 1925: 204 (repro.), 242.

1926

  • Valentiner, Wilhelm R. A Catalogue of Early Italian Paintings Exhibited at the Duveen Galleries, April to May 1924. New York, 1926: n.p., Introduction, no. 2, repro.

  • Thode, Henry. Giotto. Edited by Wolfgang Fritz Volbach. Künstler-Monographien 43. 3rd ed. Bielefeld and Leipzig, 1926: 159 n. 62.

1927

  • Valentiner, Wilhelm R. "The Henry Goldman Collection." Art News (1927): 9, repro. 10.

1928

  • Hendy, Philip. "The Supposed Painter of Saint Stephen, 1." The Burlington Magazine for Connoisseurs 52 (1928): 289, 290, 295.

1929

  • Singleton, Esther. Old World Masters in New World Collections. New York, 1929: 25-28, no. 27.

  • Toesca, Pietro. La pittura fiorentina del Trecento. Verona, 1929: 60 n. 9.

  • Toesca, Pietro. "Giotto di Bondone." In Enciclopedia italiana di scienze, lettere ed arti. Edited by Istituto Giovanni Treccani. 36 vols. Milan, 1929-1939: 17(1933):218.

1930

  • Fry, Roger. "Notes on the Italian Exhibition at Burlington House." The Burlington Magazine for Connoisseurs 56 (1930): 77.

  • Gamba, Carlo. "Problemi artistici all’esposizione di Londra." Il Marzocco 35, no. 17 (1930): 2.

  • Berenson, Bernard. "Quadri senza casa. Il Trecento fiorentino, 1." Dedalo 11 (1930-1931): 974, 988 n. 1.

  • Gamba, Carlo. "Dipinti fiorentini di raccolte americane all’esposizione di Londra." Dedalo 11 (1930-1931): 570-572, 571 (repro.), 575, 599 n. 1.

  • Longhi, Roberto. "Progressi nella reintegrazione d’un polittico di Giotto." Dedalo 11 (1930-1931): 285 (repro.), 289-291.

  • Offner, Richard. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. III: The Works of Bernardo Daddi. New York, 1930: 10, 90.

1931

  • Venturi, Lionello. Pitture italiane in America. Milan, 1931: no. 26, repro.

1932

  • Berenson, Bernard. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Oxford, 1932: 236.

1933

  • Venturi, Lionello. Italian Paintings in America. Translated by Countess Vanden Heuvel and Charles Marriott. 3 vols. New York and Milan, 1933: 1:no. 32, repro.

1934

  • Beenken, Hermann. "A Polyptych Ascribed to Giotto." The Burlington Magazine for Connoisseurs 65 (1934): 104, 109.

1935

  • 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: 90.

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: 203.

1937

  • Cecchi, Emilio. Giotto. Milan, 1937: 115, 116, pl. 175.

  • Gamba, Carlo. "Osservazioni sull’arte di Giotto." Rivista d’arte 19 (1937): 274.

  • Salmi, Mario. "La mostra giottesca." Emporium 86 (1937): 358.

  • Coletti, Luigi. "La mostra Giottesca." Bollettino d’arte 31 (1937-1938): 58.

1938

  • Salvini, Roberto. Giotto: bibliografia. Rome, 1938: 412.

  • Brandi, Cesare. "Giotto." Le Arti 1 (1938-1939): 126.

1939

  • "La collezione Kress donata alla National Gallery." Emporium 90 (1939): repro. 208.

1940

  • Paatz, Walter, and Elisabeth Paatz. Die Kirchen von Florenz: ein kunstgeschichtliches Handbuch. 6 vols. Frankfurt am Main, 1940-1954: 1(1940):291.

1941

  • Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 11, repro.

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 80, no. 367, pl. VI.

  • National Gallery of Art. Book of Illustrations. Washington, 1941: 113 (repro.), 241.

  • Richter, George Martin. "The New National Gallery in Washington." The Burlington Magazine for Connoisseurs 78 (June 1941): 177, 179, pl. B.

  • Frankfurter, Alfred M. "On the Italian Renaissance Painters in the National Gallery." Art News 40 (15-31 March 1941): 15, repro. 20.

  • Coletti, Luigi. I Primitivi. 3 vols. Novara, 1941-1947: 1(1941):56, pl. 116.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 247, repro. 115.

  • Vasari, Giorgio. Le vite dei più eccellenti pittori, scultori ed architetti. Edited by Carlo Ludovico Ragghianti. 4 vols. Milan, 1942-1949: 4(1949):282 n. 69.

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: 323, 325, 339, 361.

1944

  • Cairns, Huntington, and John Walker, eds., Masterpieces of Painting from the National Gallery of Art. New York, 1944: 18, color repro.

  • Frankfurter, Alfred M. The Kress Collection in the National Gallery. New York, 1944: 13, repro.

1945

  • Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 11, repro.

1950

  • Florisoone, Michel. Giotto. Paris, 1950: 117.

1951

  • Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 18-20, repro.

  • Galetti, Ugo, and Ettore Camesasca. Enciclopedia della pittura italiana. 3 vols. Milan, 1951: 2:1137.

  • Toesca, Pietro. Il Trecento. Storia dell’arte italiana, 2. Turin, 1951: 608, 609.

  • Carli, Enzo. Giotto. Florence, 1951: n.p.

1952

  • Salvini, Roberto, ed. Tutta la pittura di Giotto. Biblioteca d’arte Rizzoli. Milan, 1952: 22, 46, pl. 181.

1953

  • Oertel, Robert. Die Frühzeit der italienischen Malerei. Stuttgart, 1953: 91.

1954

  • Shorr, Dorothy C. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954: 110, 111, repro. 114.

1955

  • Carli, Enzo. La pittura senese. Milan, 1955: 96.

1956

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

  • Longhi, Roberto. "Progressi nella reintegrazione d'un polittico di Giotto (1930)." In Edizione delle opere complete di Roberto Longhi. 14 vols. Florence, 1956-2000: 4(1968):3-6, pls. 1 & 12.

1957

  • Zeri, Federico. "Due appunti su Giotto." Paragone 8/85 (1957): 78.

1958

  • Paccagnini, Giovanni. "Daddi, Bernardo." In Enciclopedia Universale dell’Arte. Edited by Istituto per la collaborazione culturale. 15 vols. Florence, 1958-1967: 4(1961):182.

1959

  • Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 18, repro.

  • Shapley, Fern Rusk. Early Italian Painting in the National Gallery of Art. Washington, D.C., 1959 (Booklet Number Three in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 16, color repro.

  • Gnudi, Cesare. Giotto. Milan, 1959: 198, 218, 222-224, 248, figs. 164 & 165.

  • Sandberg-Vavalà, Evelyn. Studies in the Florentine Churches. Vol. 1, Pre-Renaissance Period. Pocket Library of Studies in Art 4. Florence, 1959: 66.

1960

  • The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 19.

  • Battisti, Eugenio. Giotto. Geneva, 1960: 115-117.

  • Boskovits, Miklós. "Giotto di Bondone." In Dizionario biografico degli italiani. Edited by Alberto Maria Ghisalberti. 82+ vols. Rome, 1960+: 55(2000):412, 413, 418.

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: 4-6, repro.

  • Gamba, Carlo. Il Museo Horne a Firenze: catalogo con 40 illustrazione. 1st ed. Florence, 1961: 35.

1962

  • Procacci, Ugo. "La tavola di Giotto dell’altar Maggiore della Chiesa della Badia fiorentina." In Scritti di storia dell’arte in onore di Mario Salmi. Edited by Filippa Aliberti. 3 vols. Rome, 1962: 2:26 n. 40.

  • Salvini, Roberto. Tutta la pittura di Giotto. Biblioteca d’arte Rizzoli. 2nd ed. Milan, 1962: 39, 79, pl. 223.

  • Gnudi, Cesare. "Giotto." in Enciclopedia Universale dell’Arte. Edited by Istituto per la collaborazione culturale. 15 vols. Florence, 1958-1967: 6(1962):236.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 68, repro.

  • Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 2:81, pl. 54.

1964

  • Constable, William George. Art Collecting in the United States of America: An Outline of a History. London, 1964: 135.

  • Previtali, Giovanni. Giotto: seconda parte. I maestri del colore 27. Milan, 1964: pl. 13.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 58.

  • Marcucci, Luisa. Gallerie nazionali di Firenze. Vol. 2, I dipinti toscani del secolo XIV. Rome, 1965: 25.

1966

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:8, color repro.

  • Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 20-22, fig. 41-42.

  • Vigorelli, Giancarlo, and Edi Baccheschi. L’opera completa di Giotto. 1st ed. Milan, 1966: repro. 115.

  • Bucci, Mario. Giotto. I Diamanti dell’Arte: Biblioteca di pittura, scultura e Architettura 4. Florence, 1966: 32, 40.

  • Cämmerer-George, Monika. Die Rahmung der toskanischen Altarbilder im Trecento. Strasbourg, 1966: 71-74, 208 n. 233.

  • Rossi, Filippo, ed. Il Museo Horne a Firenze. Gallerie e musei minori di Firenze. 1st ed. Florence, 1966: 134.

1967

  • Dal Poggetto, Paolo, ed. Omaggio a Giotto: Celebrazioni nazionali nel VII centenario della nascita di Giotto. Exh. cat. Orsanmichele. Florence, 1967: 11.

  • De Benedictis, Cristina. "Firenze: Omaggio a Giotto." Antichità viva 6, no. 3 (1967): 34.

  • Previtali, Giovanni. Giotto e la sua bottega. Milan, 1967: 112-113, 317 (repro.), 376-377, pl. 79.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 51, repro.

  • Oertel, Robert. Early Italian Painting to 1400. London, 1968: 98.

  • Mellini, Gian Lorenzo. "Pittura fiorentina del primo Trecento e Maso." Critica d’arte 15 (1968): 54.

  • Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 10, 18, 20-21, color repro.

1969

  • Bologna, Ferdinando. I pittori alla corte angioina di Napoli, 1266-1414, e un riesame dell’arte nell’età fridericiana. Rome, 1969: 199, 229 n. 81.

  • Bologna, Ferdinando. Novità su Giotto. Giotto al tempo della cappella Peruzzi. Turin, 1969: 25, 27, 32, 92-94, 97-98.

  • Venturoli, Paolo. "Giotto." Storia dell’arte 1, no. 2 (1969): 154, 156, 158.

1971

  • Battisti, Eugenio. Piero della Francesca. 2 vols. Milan, 1971: 1:528 n. 548.

  • Martinelli, Valentino. "Contributo alla conoscenza dell’ultimo Giotto." In Giotto e il suo tempo: Atti del congresso internazionale per la celebrazione del VII centenario della nascità di Giotto. Rome, 1971: 399-400.

  • Smart, Alistair. The Assisi Problem and the Art of Giotto: A Study of the Legend of St. Francis in the Upper Church of San Francesco, Assisi. Oxford, 1971: 65.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 87, 311, 645, 661.

  • Boskovits, Miklós. "Giotto di Bondone." In _Dizionario Enciclopedico Bolaffi dei pittori e degli Incisori italiani: dall’XI al XX secolo _. Edited by Alberto Bolaffi and Umberto Allemandi. 11 vols. Turin, 1972-1976: 6(1974):11.

1973

  • De Benedictis, Cristina. Giotto: Bibliografia, Vol. 2 (1937-1970). Rome, 1973: 537.

  • Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XVI-XVIII Century. London, 1973: 382.

  • Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 79, 82 repro.

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, 28-29, repro.

  • Bellosi, Luciano. Buffalmacco e il Trionfo della morte. Turin, 1974: 52, fig. 93.

  • Gregori, Mina. "Sul polittico Bromley Davenport di Taddeo Gaddi e sulla sua originaria collocazione." Paragone 25, no. 297 (1974): 74.

  • Previtali, Giovanni. Giotto e la sua bottega. 2nd ed. Milan, 1974: 112-113, 317 (repro.), 318, 335, 377, pl. 79.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 154, repro.

  • Boskovits, Miklós. Pittura fiorentina alla vigilia del Rinascimento, 1370-1400. Florence, 1975: 5, 15, 244 n. 13.

  • Tantillo Mignosi, Almamaria. "Osservazioni sul transetto della Basilica Inferiore di Assisi." Bollettino d’arte 60 (1975): 136, 141 n. 38.

1976

  • Fowles, Edward. Memories of Duveen Brothers. London, 1976: 104.

1977

  • Bellosi, Luciano. "Moda e cronologia: A) gli affreschi della Basilica Inferiore di Assisi." Prospettiva 10 (1977): 26, 28, fig. 24.

  • Bellosi, Luciano. "Moda e cronologia: B) per la pittura di primo Trecento." Prospettiva 11 (1977): 13 (repro.), 14.

1978

  • Fahy, Everett. "Italian Paintings at Fenway Court and Elsewhere." The Connoisseur 198, no. 795 (1978): 29.

  • Laclotte, Michel. "Reconstruction and Revaluation." Apollo 108 (1978): 387.

  • Ressort, Claude, Sylvia Beguin, and Michel Laclotte, eds. Retables italiens du XIIIe au XVe siècle. Exh. cat. Musée National du Louvre, Paris, 1978: 11-14, repro.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. National Gallery of Art. 2 vols. Washington, 1979: 1:219-221; 2:pl. 149.

  • Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 19, pl. 2.

  • Caleca, Antonino, Gaetano Nencini, Giovanna Piancastelli, and Enzo Carli. Pisa, Museo delle Sinopie del Camposanto monumentale. Pisa, 1979: 68.

1980

  • Conti, Alessandro. "Un Crocifisso nella bottega di Giotto." Prospettiva 20 (1980): 48, 56 n. 15.

1981

  • Bellosi, Luciano. Giotto. Florence, 1981: 71, 72, fig. 147.

1982

  • Christiansen, Keith. "Fourteenth-Century Italian Altarpieces." Bulletin of the Metropolitan Museum of Art 40 (1982): 50, 54.

  • Ladis, Andrew. Taddeo Gaddi: Critical Reappraisal and Catalogue Raisonné. Columbia, 1982: repro. 23.

  • Pietralunga, Fra Ludovico da, and Pietro Scarpellini (intro. and comm.). Descrizione della Basilica di S. Francesco e di altri Santuari di Assisi. Treviso, 1982: 245.

1983

  • Brandi, Cesare. Giotto. Milan, 1983: 147-149 (repro.), 150, repro. 186.

  • Ladis, Andrew. "An Early Trecento Madonna Uncovered." Antichità viva 22 (1983): 7, 8, fig. 8.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 71, no. 10, color repro.

  • Boskovits, Miklós. "Una vetrata e un frammento d’affresco di Giotto nel museo di Santa Croce." In Scritti di storia dell’arte in onore di Federico Zeri. 2 vols. Milan, 1984: 1:44 n. 7.

  • Ercoli, Giuliano. "Una Precisazione per Giotto, Boccaccio e Giovanni di Pagolo Morelli." In Scritti di storia dell’arte in onore di Roberto Salvini. Florence, 1984: 197.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 177, repro.

  • Boskovits, Miklós. The Martello Collection: Paintings, Drawings and Miniatures from the XIVth to the XVIIIth Centuries. Florence, 1985: 97.

  • Bonsanti, Giorgio. Giotto. Padua, 1985: 53, 55-56, 172-174, pl. 172.

1986

  • Castelnuovo, Enrico, ed. La Pittura in Italia. Il Duecento e il Trecento. 2 vols. Milan, 1986: 1:293; 2:576.

1987

  • Tartuferi, Angelo. "Dipinti del Due e Trecento alla mostra ‘Capolavori e Restauri.’" Paragone 38, no. 445 (1987): 53, 59 n. 30.

  • Offner, Richard, and Miklós Boskovits. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. II, part I: Elder Contemporaries of Bernardo Daddi. 2nd ed. Florence, 1987: 18, 617.

1988

  • Davies, Martin, and Dillian Gordon. National Gallery Catalogues. The Earlier Italian Schools. Rev. ed. London, 1988: 30.

1989

  • Bandera Bistoletti, Sandrina. Giotto: catalogo completo dei dipinti. Florence, 1989: 126, repro. 129.

  • Gordon, Dillian. "A Dossal by Giotto and His Workshop: Some Problems of Attribution, Provenance and Patronage." The Burlington Magazine 131 (1989): 526.

  • Previtali, Giovanni. "Giotto." In Dizionario della pittura e dei pittori. Edited by Enrico Castelnuovo and Bruno Toscano. 6 vols. Turin, 1989-1994: 2(1990):604.

  • Offner, Richard, Miklós Boskovits, and Enrica Neri Lusanna. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. III: The Works of Bernardo Daddi. 2nd ed. Florence, 1989: 391.

1990

  • Testi Cristiani, Maria Laura. "‘Circostanze avignonesi’: il crocifisso double-face del cardinale Godin a Tolosa, 1." Critica d’arte 55 (1990): 50 (repro.), 56.

1991

  • "The National Gallery of Art, Washington: fifty years." Apollo 133, no. 349 (March 1991):156, repro.

  • Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 185, 188, color repro.

  • Gardner, Julian. "Review of a Critical and Historical Corpus of Florentine Painting: The Fourteenth Century. The Works of Bernardo Daddi, Section III, Volume 3, by R. Offner. New Edition by M. Boskovits in Collaboration with E. Neri Lusanna." The Burlington Magazine 133 (1991): 201.

  • Simon, Robin. "The National Gallery of Art, Washington. Fifty Years of Private Collecting for the Public Good." Apollo 133 (March 1991): 156, repro.

  • Tomei, Alessandro. "Giotto." In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 6(1996):671.

1992

  • National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 12, repro.

  • Bonsanti, Giorgio. "La bottega di Giotto e la Croce di San Felice." In La croce giottesca di San Felice in Piazza: storia e restauro. Edited by Magnolia Scudieri. Venice, 1992: 79, 89 n. 50.

1993

  • Busignani, Alberto. Giotto. Florence, 1993: 206, 209 (repro.), 307.

  • Previtali, Giovanni, and Giovanna Ragionieri. Giotto e la sua bottega. Edited by Alessandro Conti. 3rd ed. Milan, 1993: 147 n. 217, 329, 348, 391.

  • Gagliardi, Jacques. La conquête de la peinture: L’Europe des ateliers du XIIIe au XVe siècle. Paris, 1993: 45, fig. 44.

1994

  • Bellosi, Luciano. "Ancora sulla cronologia degli affreschi del Cappellone di San Nicola a Tolentino." In Arte e spiritualità nell’ordine agostiniano e il Convento San Nicola a Tolentino: atti della seconda sessione del convegno “Arte e Spiritualità negli Ordini Mendicanti”; Tolentino, 1-4 settembre 1992. Edited by Graziano Campisano. Rome, 1994: 189.

  • Jackson, Jed. Art: A Comparative Study. Dubuque, IA, 1994: repro. 117.

1995

  • Flores d’Arcais, Francesca. Giotto. 1st ed. Milan, 1995: 320, 321 (repro.), 324.

1996

  • Cavazzini, Laura. Giotto. Florence, 1996: 33, 40.

  • Gilbert, Creighton E. "Giotto di Bondone." In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 12:686

1998

  • Apostolos-Cappadona, Diane. "Virgin/Virginity." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:905.

1999

  • Gardner, Julian. "Panel Paintings Attributed to Giotto in American Collections." Center, Research Reports and Record of Activities 19 (1999): 71-73, repro.

2000

  • Sainte Fare Garnot, Nicolas. "Brève histoire d’une redécouverte." In Primitifs italiens du Musée Jacquemart-André. Paris, 2000: 104-105, repro. 107.

  • Tartuferi, Angelo, ed. Giotto: bilancio critico di sessant’anni di studi e ricerche. Exh. cat. Galleria dell’Accademia, Florence, 2000: 66, 71, 88, 118, 175, repro. 177, 182-186, repro. 183.

  • Tartuferi, Angelo. "Giotto. Una nuova Immagine." In Giotto: guida alla mostra. Edited by Angelo Tartuferi. Exh. guide. Galleria dell'Accademia, Florence, 2000: 21, repro.

2002

  • Gardner, Julian. "Giotto in America (and Elsewhere)." In Italian Panel Painting of the Duecento and Trecento. Edited by Victor M. Schmidt. Studies in the History of Art 61 ( 2002): 161, 171-176, figs. 16, 17, 20.

  • Ragionieri, Giovanna. "Giotto di Bondone." In La pittura in Europa. Il Dizionario dei pittori. Edited by Carlo Pirovano. 3 vols. Milan, 2002: 2:360.

  • Bonsanti, Giorgio. "La pittura del Duecento e del Trecento." In La Basilica di San Francesco ad Assisi. Edited by Giorgio Bonsanti. Modena, 2002: 168, 184.

2003

  • "Giotto ou Giotto di Bondone." In Dictionnaire de la peinture. Edited by Michel Laclotte and Jean Pierre Cuzin. Paris, 2003: 381.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 8-9, no. 3, color repros.

  • Secrest, Meryle. Duveen: A Life in Art. New York, 2004: 445.

  • Maginnis, Hayden B. J. "In Search of an Artist." In The Cambridge Companion to Giotto. Edited by Anne Derbes and Mark Sandona. Cambridge, 2004: 23.

2006

  • Bellosi, Luciano. "Moda e cronologia: B) per la pittura di primo Trecento." In “I vivi parean vivi”: scritti di storia dell’arte italiana del Duecento e del Trecento. (Prospettiva 121-124) Florence, 2006: 439, fig. 3.

  • Bellosi, Luciano. "Moda e cronologia: A) gli affreschi della Basilica Inferiore di Assisi." In “I vivi parean vivi”: scritti di storia dell’arte italiana del Duecento e del Trecento. (Prospettiva 121-124) Florence, 2006: 432, 434 fig. 22.

  • Greco, Gabriella, ed. Giotto. Milan, 2006: 286, 287, repro.

  • Lisner, Margrit. "Osservazioni sul Tondo Doni di Michelangelo e sulla Madonna del Sacco di Andrea del Sarto: cromia e colore iconografico, con un epilogo, 1." Arte cristiana 94 (2006): 340.

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: 127, 303, repro. 305.

  • Tartuferi, Angelo. Giotto. 1st ed. Florence, 2007: 125 (repro.), 127.

2008

  • Tosti, Barbara, ed. Mugello culla del Rinascimento: Giotto, Beato Angelico, Donatello e i Medici. Exh. cat. Palazzo Medici-Riccardi, Florence, 2008: 98, as the Goldman Madonna.

2009

  • Galassi, Maria Clelia, and Elizabeth Walmsley. "Painting Technique in the Late Works of Giotto: Infrared Examination of Seven Panels from Altarpieces Painted for Santa Croce." In The Quest for the Original: Underdrawing and Technology in Painting. Symposium XVI, Bruges, September 21-23, 2006. Edited by Hélène Verougstraete and Colombe Janssens de Bisthoven. Leuven, 2009: 116-122, figs. 4, 6.

  • Tomei, Alessandro, ed. Giotto e il Trecento: il più Sovrano Maestro stato in dipintura. 2 vols. Exh. cat. Museo Centrale del Risorgimento, Rome. Milan, 2009: 2:165.

2012

  • Sciacca, Christine, ed. Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. J. Paul Getty Museum. Los Angeles, 2012, no. 2, repro.

2013

  • Thiebaut, Dominique, ed. Giotto e compagni. Exh. cat. Musée du Louvre. Paris, 2013: no. 12, repros.

2015

  • Dunn, Joanna R., Barbara H. Berrie, John K. Delaney, and Lisha Deming Glinsman. "The Creation of Giotto's Madonna and Child: New Insights." Facture: conservation, science, art history 2 (2015): 2-17, 3 unnumbered detail, figs. 1-10.

2016

  • National Gallery of Art. Highlights from the National Gallery of Art, Washington. Washington, 2016: 36, repro. 37.

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 140-156, color repro.

Wikidata ID

Q3842479

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