Duccio di Buoninsegna

Duccio

Sienese, c. 1250/1255 - 1318/1319

Explore Selected Works

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.
Duccio di Buoninsegna, The Calling of the Apostles Peter and Andrew, 1308-1311, tempera on panel, Samuel H. Kress Collection, 1939.1.141

The Calling of the Apostles Peter and Andrew

Duccio di Buoninsegna · 1308-1311 · tempera on panel ·  Accession ID  1939.1.141

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.
Duccio di Buoninsegna, The Nativity with the Prophets Isaiah and Ezekiel, 1308-1311, tempera on single poplar panel, Andrew W. Mellon Collection, 1937.1.8

The Nativity with the Prophets Isaiah and Ezekiel

Duccio di Buoninsegna · 1308-1311 · tempera on single poplar panel ·  Accession ID  1937.1.8

Bibliography

1907

  • 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):25-29.

1911

  • Weigelt, Curt H. Duccio di Buoninsegna: Studien zur Geschichte der frühsienesischen Tafelmalerei. Leipzig, 1911.

1913

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

1929

  • Toesca, Pietro. "Duccio di Buoninsegna." In Enciclopedia Italiana di scienze, lettere ed arti. Edited by Istituto Giovanni Treccani. 36 vols. Rome, 1929-1939: 13(1932):245-247.

1951

  • Brandi, Casare. Duccio. Florence, 1951.

1960

  • Bologna, Ferdinando. "Duccio di Buoninsegna." In Dizionario biografico degli italiani. Edited by Alberto Maria Ghisalberti. 79+ vols. Rome, 1960+: 41(1992):742-749.

1972

  • Cattaneo, Giulio, and Edi Baccheschi. L’opera completa di Duccio. 1st ed. Milan, 1972.

1976

  • Stoichita, Victor Ieronim. Ucenicia lui Duccio di Buoninsegna. Bucharest, 1976.

1979

  • Stubblebine, James H. Duccio di Buoninsegna and His School. 2 vols. Princeton, 1979.

  • White, John. Duccio: Tuscan Art and the Medieval Workshop. New York, 1979.

1984

  • Deuchler, Florens. Duccio. Milan, 1984.

  • White, John. Studies in Late Medieval Italian Art. London, 1984.

1989

  • "Duccio di Buoninsegna." In Dizionario della pittura e dei pittori. Edited by Enrico Castelnuovo and Bruno Toscano. 6 vols. Turin, 1989-1994: 2(1990):137-139.

  • Ragionieri, Giovanna. Duccio: catalogo completo dei dipinti. Florence, 1989.

1991

  • Bellosi, Luciano. "Duccio di Buoninsegna." In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 5(1994):738-750.

  • Jannella, Cecilia. Duccio di Buoninsegna. Antella (Florence), 1991.

1992

  • Schmidt, Victor M. "Duccio di Buoninsegna." In Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. Edited by Günther Meissner. 83+ vols. Munich and Leipzig, 1983+: 30(2001):153-157.

1994

  • Maginnis, Hayden B. J. “Duccio’s Rucellai Madonna and the Origins of Florentine Painting.” Gazette des Beaux-Arts Ser. 6,123 (1994): 147-164.

1996

  • Gordon, Dillian. "Duccio di buoninsegna." In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 9:341-350.

1998

  • Bellosi, Luciano. Duccio, la Maestà. Milan, 1998.

1999

  • Carli, Enzo. Duccio. Milan, 1999.

2000

  • Medica, Massimo, and Stefano Tumidei, eds. Duecento: forme e colori del Medioevo a Bologna. Exh. cat. Museo Civico Archeologico, Bologna. Venice, 2000.

  • Satkowski, Jane Immler. Duccio di Buoninsegna: the Documents and Early Sources. Edited by Hayden B. J. Maginnis. Athens, Georgia, 2000.

2003

  • Bagnoli, Alessandro, Roberto Bartalini, Luciano Bellosi, and Michel Laclotte, eds. Duccio: Siena fra tradizione bizantina e mondo gotico. Milan, 2003.

  • Bagnoli, Alessandro. “Alle origini della pittura senese. Prime osservazioni sul ciclo dei dipinti murali.” In Sotto il Duomo di Siena: scoperte archeologiche, architettoniche e figurative. Edited by Roberto Guerrini and Max Seidel. Milan, 2003: 105-145.

2006

  • Herbert, Lynley Anne. "Duccio di Buoninsegna: Icon of Painters, or Painter of “Icons"?." Ph.D. dissertation, University of Delaware, Newark, 2006.

2016

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 79-80.