Provenance

Luigi de Angelis

Italian, 1758 - 1832

Explore Selected Works

A haloed man with his back to us approaches a crowd gathered in a crate-like box unexpectedly set into a rocky landscape in this square painting. The central man, Jesus, is covered with a white cloth across one shoulder and both hips, and he carries a white banner marked with a red cross. He is barefoot as he steps on the opening to the box, which is hinged along the bottom edge. The door has crushed a wild-haired demon with red-colored skin against the pebble-strewn ground below. More than two dozen men and women of all ages are crowded into the box, their round faces tipped back and looking toward Jesus. All the people have pale skin. Jesus reaches out his left hand to hold the wrist of a man with a long white beard and hair, who kneels to the left. This kneeling man wears a dark, fur-like garment, and a hoe is hooked across his bent knee. Jesus holds the hand of a second man, who also kneels, to our right. This man wears a canary-yellow robe edged in blue, and he grips Jesus’s wrist with his second hand. A man wearing a purple toga over another fur-like garment stands behind. The box-like structure is set within a massive, striated boulder. More rocky cliffs rise to each side of the central form, and the sky above is sapphire blue.
Benvenuto di Giovanni, Christ in Limbo, probably 1491, tempera on panel, Samuel H. Kress Collection, 1952.5.54

Christ in Limbo

Benvenuto di Giovanni · probably 1491 · tempera on panel ·  Accession ID  1952.5.54

A pale-skinned man stands in front of a door-like opening set into a rocky cave against a deep landscape in this nearly square painting. The man, Jesus, has long reddish-blond hair, a red beard, and a disk-like gold halo. A muted lavender-purple cloth drapes over one shoulder, across his partially bare, muscular chest, and around his hips and legs. His right hand, to our left, is raised with the first two fingers lifted. A tall staff tucked into his other elbow has a long, white banner with a red cross, a forked end, and a red, plus-shaped cross finial. Behind Jesus, a rectangular doorway with molding is surrounded by craggy stone. The man stands on a chest-shaped stone tomb, and a white stone slab lies across the ground in front of it. Six men with pale skin lightly tinged with gray lie under and around the slab. They wear armor in shades of canary yellow, rose pink, aquamarine blue, violet, and orange. Five of them lie with legs and arms akimbo and one, to our right, props himself on one elbow and looks up at Jesus. Pebbles are strewn in a loose line across the ground along the bottom edge of the composition. Rivers zigzag back through more rocky formations and mountains to a town in the deep distance to the right and pale blue mountains along the horizon, which comes three-quarters of the way up this composition. A few thin clouds drift across the sky that deepens from pale yellow over the mountains to deep blue across the top edge of the painting,
Benvenuto di Giovanni, The Resurrection, probably 1491, tempera on panel, Samuel H. Kress Collection, 1952.5.55

The Resurrection

Benvenuto di Giovanni · probably 1491 · tempera on panel ·  Accession ID  1952.5.55

A man, Jesus, is nailed to a cross by his hands and feet and is flanked by groups of about a dozen people to each side, all against a hilly, deep landscape in this horizontal painting. All the people have peachy, nearly golden skin, and their clothing is mostly vibrant yellow, red, blue, and purple. The horizon comes about two-thirds of the way up this composition and crosses behind Jesus’s waist, so the top half of his body and the cross are silhouetted against the ice-blue sky. Eyes closed, Jesus’s head hangs by his shoulder, to our left. Blood drips from the nails driven through his hands, from a gash over his right ribs, and more runs in a continuous stream from his overlapping feet onto the stony ground. Blood also trickles down his shoulder-length brown hair under a ring of thorns. A flat, disk-like halo hovers over his head so it angles sharply toward us, but we can see a red cross on the underside. The letters “INRI” are written in white on a red panel affixed to the top of the cross. The man is nude except for a white cloth across his hips. To our left, a man sits on a red saddle astride a dark brown horse. The balding man has a white beard and hair. He holds a long spear with its pointed end dripping blood against his body with one hand, and holds up his other hand by his chest as he looks at Jesus. In front of him and to our left, a group of six women and one man gather and kneel around a swooning woman. Closest to us, the fainting woman wears a raspberry-pink gown under a blue mantle, which covers her head and shoulders over a white veil. Her body is braced to our right by a cleanshaven man with long, curly blond hair, wearing a tan robe. A woman wearing a purple dress under an orange robe, with unbound, flax-yellow hair, supports the swooning woman’s body on the other side, to our left. Four more women look on from behind this trio. All of them have white veils over their heads, and one has a red mantle over her veil. Tears fall from everyone’s eyes in this group. Five of them, including the woman and those supporting her, have flat, disk-like halos. A short distance away to our left, three children look at the cross from a tall hill. Two sit together, and one stands and holds onto the trunk of a tree growing there. They wear tones of yellow, orange, and rose pink. Next to the cross to our right is a white horse, also with a red saddle. A man with brown hair and beard, wearing purple and yellow, looks up to Jesus. To the right, three men in armor draw straws from the fist of a fourth. Two more men stand near this group and six sit on horses behind them. The rocky ground at the base of the cross is strewn with stones. A green meadow stretches back to a body of water, which is lined with pale blue mountains in the hazy distance.
Benvenuto di Giovanni, The Crucifixion, probably 1491, tempera on panel, Samuel H. Kress Collection, 1952.5.53

The Crucifixion

Benvenuto di Giovanni · probably 1491 · tempera on panel ·  Accession ID  1952.5.53

Bibliography

1971

  • Cagliaritano, Ubaldo. Mamma Siena. Siena, 1971:523