VISUAL THEOLOGY


Madonna and Child, Bernardino dei Conti (Italian, Milanese, 1496–1522), Oil on wood Overall, with additions, (40.3 x 30.5 cm); Metropolitan Museum of Art (new York) ■ The Jack and Belle Linsky Collection, 1982 (1982.60.7)The panel, which has a slight concave warp, is backed with Masonite. It has probably been thinned and cut down. There are a number of minor losses, and the drawing has been reinforced in places. However, the most serious factor is the general lack of crispness and loss of such details as the veil over the Virgin's right hand, which is attributable to a combination of abrasion and solvent action. [from Ref. Christiansen 1984]. Franco Moro, in "Sembrare e non essere: i falsi nell'arte e nella civiltà," eds. Mark Jones and Mario Spanol (Milan, 1993), pp. 218–21, does not specifically mention the MMA picture, but identifies the author of the group of paintings to which it belongs as a forger of the early nineteenth century. 

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Y entonces uno se queda con la Iglesia, que me ofrece lo único que debe ofrecerme la Iglesia: el conocimiento de que ya estamos salvados –porque esa es la primera misión de la Iglesia, el anunciar la salvación gracias a Jesucristo- y el camino para alcanzar la alegría, pero sin exclusividades de buen pastor, a través de esa maravilla que es la confesión y los sacramentos. La Iglesia, sin partecitas.

laus deo virginique matris


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