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Italian, active first third 14th century
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Miklós Boskovits (1935–2011), “Master of the Washington Coronation,” NGA Online Editions, https://purl.org/nga/collection/constituent/38614 (accessed August 13, 2022).
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|Mon Mar 21 00:00:00 EDT 2016 Version|
Michelangelo Muraro first coined the conventional name for this artist in 1969 and gathered under it a group of paintings previously attributed in the main to
What can be maintained with some certainty is that the name-piece of the group — the
Though probably trained in his hometown in contact with artists such as the Master of the Cappella Dotto, or the anonymous master of the altar-frontal in the basilica of San Giusto in Trieste, he shows particular susceptibility to the classicizing tendencies of the so-called Palaeologan Renaissance. The period of his activity, during which he accepted in an ever more pronounced manner the ideals of courtly elegance and rhythmic complexity of the Western Gothic, extended to the third decade of the fourteenth century or shortly after. Apart from satisfying the artistic needs of his own city, the Master of the Washington Coronation produced works for various other cities in the Veneto (such as Caorle, where he painted an iconostasis), or those of northern Emilia or the Dalmatian coast culturally linked to Venice, such as Forlì or Split (Spalato).
 Cf. Michelangelo Muraro, Paolo da Venezia (Milan, 1969), 29 – 32. Viktor Nikitič Lazarev, “Review of La pittura veneziana del Trecento by R. Pallucchini,” The Art Bulletin 48 (1966): 120 – 121, linked the Washington Coronation with a group of other paintings and attributed them to an anonymous artist more archaic in style than Paolo and conjectured that he might have been Paolo’s master.
 Fulvio Zuliani, “Tommaso da Modena,” in Tomaso da Modena: Catalogo, ed. Luigi Menegazzi (Treviso, 1979), 77 – 79.
 Commenting on the panel in Trieste, Rodolfo Pallucchini (1964) spoke of an anonymous work of “fundamental byzantinism” influenced by Paolo Veneziano. The dating to the second quarter of the fourteenth century that Pallucchini suggested (and that Michelango Muraro  accepted) seems to me too late: the painting might, I believe, still fall into the latter years of the thirteenth century and reveals the influence not of Paolo but of Palaeologan art. See Rodolfo Pallucchini, ed., La pittura veneziana del Trecento (Venice, 1964), 67 and figs. 225 – 226; Michelangelo Muraro, Paolo da Venezia (Milan, 1969), 141. For the Master of the Cappella Dotto, see Giovanni Valagussa, “Il Maestro della Cappella Dotto,” in Pittura a Milano dall’Alto Medioevo al Tardogotico, ed. Mina Gregori (Milan, 1997), 199 – 200.
 On the panels that originally formed part of the iconostasis in the cathedral of Caorle and sometimes are cited under the name of the Master of Caorle, see Mauro Lucco, “Maestro di Caorle,” in La Pittura nel Veneto: Il Trecento, ed. Mauro Lucco, 2 vols. (Milan, 1992), 2:537; Carla Travi, “Il Maestro del trittico di Santa Chiara: Appunti per la pittura veneta di primo Trecento,” Arte cristiana 80 (1992): 96 n. 57; Carla Travi, “Su una recente storia della pittura del Veneto nel Trecento,” Arte cristiana 82 (1994): 70 – 72.
 Examples are the Crucifixion in the Serbian Orthodox church at Split and the fragments with figures of saints in the Pinacoteca of Forlì. See, respectively, Kruno Prijatelk, “Nota su una Crocifissione vicina a Paolo Veneziano a Split (Spalato),” Arte veneta 40 (1986): 148 – 150; and Giovanni Valagussa, “Prima di Giotto,” in Il Trecento riminese: Maestri e botteghe tra Romagna e Marche, ed. Daniele Benati (Milan, 1995), 77 – 78.
Miklós Boskovits (1935–2011)
March 21, 2016