Andrea di NERIO - Lot 1

Lot 1
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Result : 42 000EUR
Andrea di NERIO - Lot 1
Andrea di NERIO (documented in Arezzo from 1331 to 1369) Saint Gregory the Great Side panel for an altarpiece or tabernacle. Egg painting and gold ground on resin panel. Lower left: label with no. 27. 56.5 x 31.3 cm panel alone 57.8 x 34 cm with modern frame Provenance: Albin Chalandon (1809-1885) collection, Parcieux, Ain. Always remained in the family. Bibliography: E. Carli, La pittura pisana del Trecento, Milan, 1961, vol. 2 p. 69; F. Zeri, "Un problema di trecento aretino", in Diari di Lavoro, I, Bergamo 1971, p28-29; reed. In Giorno per giorno nella pittura, Scritti sull'arte toscano dal trecento al primo cinquecento, Turin 1991, p.39 - 40, fig. 40 ; G. Freuler, "Manifestatori delle cose miracolose", Arte italiana del'300 e '400 da collezioni in Svizzera e nel Liechtenstein, Fondazione Thyssen Bornemiza, Lugano, April 7-June 30, 1991, pp. 189-190; O. Pujmanova, Olomouc picture gallery, I, Italian Painting of the 14th-18th centuries from Olomouc Collections, Olomouc 1996 p.30, reproduced p. 29; S. Weppelmann, "Andrea di Nerio o Spinello Aretino?" in Nuovi Studi, 7, 1999, p.12, n.15 R. Bartalini, "Da Gregorio e Donato a Andrea di Nerio: vicende della pittura aretina del Trecento" in Arte in Terra di Arezzo, Il Trecento, 2005, pp. 11-40, and especially pp.32-34; Catalogue of the exhibition Entre Tradition et Modernité, Peinture italienne des XIVe et XVe siècles, Paris, Galerie G. Sarti, 2008, pp.24-31 (Andrea di Nerio circa 1330; notice by Andrea di Marchi); A. Labriola, "Andrea di Nerio" in M. Boskovits, The Alana Collection, Italian Paintings from the 13th to 15th century, Florence, 2009, pp.23-26, quoted p. 26, reproduced fig. 5d (with previous bibliography); I. Droandi, "Contributo per Andrea di Nerio e per i collaboratori aretini di Spinello" in In nome di buon pittore, Spinello e il suo tempo, Atti della giornata di studio in memoria di Luciano Bellosi, Arezzo 8nNovember 2011, Pisa, 2016, p. 60, reproduced fig.2. Saint Gregory the Great, one of the Doctors of the Church and Pope in 590, stands in front of the gold background, inserted under a high three-lobed arch painted in trompe-l'œil. His feet disappeared when the panel was cut. In the upper part, on the left, the archway determines the spandrels formerly adorned with an acanthus leaf motif, which has completely disappeared on the left, while on the right it only half appears. The pontiff is wearing the insignia of his office: the tiara is placed on his haloed head, hooded in the white vestment of the Benedictines, the order to which this pope belonged. He blesses with his gloved right hand and displays the sacred book with his left. The reappearance of this Saint Gregory and that of a Saint Bishop discovered by O. Pujmanova in the Czech Republic, have enabled us to partially reconstruct an important work that critics today agree is by Andrea di Nerio, a painter from Arezzo who was known as a master from 1331 to 1369, before disappearing before 1387. This artist, one of the founding figures of the Arezzo school, succeeded the painters Donato and Gregorio, active in the early 14th century, and then the Master of Vescovado (with whom he was for a time confused), and worked shortly after the arrival in Arezzo of the itinerant painters Pietro Lorenzetti from Siena and the Florentine Buonamico Buffalmacco, with whom he had to train, before the emergence in the 15th century of the great local figure of Spinello Aretino, whose master he undoubtedly was. He was rediscovered during the restoration of the frescoed Annunciation from the church of San Marco in Murello (Arezzo, Museo Diocesano, see A. Maetzke, Arte nel Aretino, recuperi e restauri dal 1968 al 1974, exhibition Arezzo, 1974-1975, pp. 53-58 and S.Weppelmann, Spinello Aretino e la pittura del Trecento in Toscana, Florence 2011, pp. 45-46) where his signature reappeared. Our Saint Gregory and the Saint Bishop mentioned above were accompanied by four other panels of similar presentation: Saint John the Evangelist, Saint John the Baptist, Saint James the Greater and Saint Michael, formerly belonging to the Baroni collection in Paris. The two Saints John are currently of unknown location, while the Saint James entered the Alana collection (Newark, Del. USA) and the Saint Michael into that of Lisa De Carlo of Florence (see A. Labriola 2009, reproduced fig. 5, 5a,5b,5c,5d,5e). Thanks to the presence of the foliate motif adorning the spandrels of each panel - a motif sometimes cut in half when the work was dismantled - the panels were reassembled in pairs. This enabled us to reassemble the pairs of Saint John the Evangelist/Saint John the Baptist; Saint James/Saint Michael; Saint Gregory/Saint Bishop. Alberto Lanza (see A. Lanza, Le opere del ricor
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