A panel with a Madonna and Child whose whereabout are currently unknown offers an opportnunity to reconsider the career of Michele di Matteo and revise its chronology. While the painting itself has appeared to offer little assistance, a surviving document can be interpreted in such a way as to suggest that the picture may already have been in existence at the time of its writing. The likely date of the work is therefore in the early 1420s, which would explain its clear debt to the Valle Romita polyptych of Gentile da Fabriano: the influence of the latter had already received critical attention, but until now with reference to a deferred chronological context. The experience of Venetian art must also have been crucial for Michele di Matteo, who had previously adhered to the model of Giovanni da Modena.

Nuove riflessioni sul percorso di Michele di Matteo, in “Arte Cristiana. An international Review of Art History and Liturgical Arts”, 852, pp. 171-180.

F. Massaccesi
2009

Abstract

A panel with a Madonna and Child whose whereabout are currently unknown offers an opportnunity to reconsider the career of Michele di Matteo and revise its chronology. While the painting itself has appeared to offer little assistance, a surviving document can be interpreted in such a way as to suggest that the picture may already have been in existence at the time of its writing. The likely date of the work is therefore in the early 1420s, which would explain its clear debt to the Valle Romita polyptych of Gentile da Fabriano: the influence of the latter had already received critical attention, but until now with reference to a deferred chronological context. The experience of Venetian art must also have been crucial for Michele di Matteo, who had previously adhered to the model of Giovanni da Modena.
F. Massaccesi
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11585/109283
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