Abstract
The number of Duccio’s followers was very considerable, and, as I have already remarked, although his school — or we might say his tradition — was only of short duration, it monopolized, at least for a time, the greater part of Siena’s pictorial output.
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Reference
G. De Nicola, L’Affresco di Simone Martini ad Avignone, L’Arte, IX, 1906, p. 34o.
L. Douglas, The Exhibition of Early Art in Siena, Nineteenth Century and after, November 1.94; and note in Crowe and Cavalcaselle, op. cit., III, p. 16.
It is catalogued as a work of Duccio’s and attributed to this master by IV. Rothes. Die Blütezeit der Sienesischen Malerei, Strasbourg, 1904, p. 43. ‘Vei~elt op. cit., p. 172, looks upon it as a work from Duccio’s studio. V. I_usini, Rassegna d’Arte Senese, 1912, p. 118, believes the picture was painted for the monastery of S Paolo “nella costa di S. Marco”, founded in 1342; but this date seems to me much too late.
This work is attributed to the “bottega” of Duccio by V. Lusini, Rassegna d’Arte Senese, 1912, p.117, and to an immediate disciple by Perkins, Rassegna d’Arte, 1913, p. 6 and 36.
and in his Catalogo della Mostra di Opera di Duccio di Buoninsegna e della sua scuola, Siena, 1912, no. 31, and then to his studio (Vita d’Arte, 1912). v. Rassegna d’Arte Senese, 1912, p. 156. V. Lusini ascribes it to Duccio’s studio (Rassegna d’Arte Senese, 1912, p. -it 9) and F. M. Perkins to an immediate disciple (Rassegna d’Arte, 1913, p. 7 )
P. D’Achiardi, Una Madonna Sconosciuta di Duccio di Buoninsegna, L’Arte, IX. 1906, p. 372. The attribution was accepted by Venturi and Langton Douglas. V. Lusini, op. cit., p. 119, ascribes it, and I think rightly, to Duccio’s workshop; Perkins, op. cit., p. 7, to an immediate follower. Weigelt, op. cit., p. 174, note, to Duccio’s school.
Crowe and Cavalcaselle, op. cit., p. 17.
Berenson, Central Italian Painters.
Perkins, Rassegna d’Arte, 1913, p. 6. De Nicola, Catalogo, No. 33, hesitates between Duccio and his workshop.
Venturi, op. cit., p. 581, note, and Weigelt, p. 777, note, do not ascribe these panels to Duccio himself. Lusini, Rassegna d’Arte Senese, 1912, p. 121, is doubtful.
This painting also is attributed by Mr. Berenson to Duccio, but by Weigelt to a follower.
They are catalogued as works of Duccio’s.
De Nicola, Catalogo, No. 70, considers this picture to be in the manner of Segna.
Attributed to Duccio by Langton Douglas, Crowe and Cavalcaselle, III, p. 19; to his school by I. Vavasour Elder, Rassegna d’Arte Senese, 19o8, p. 26; Lusini, Idem, 1912, p. 120; Weiielt, op. cit., p. 136.
Rassegna d’Arte Senese, 1908, p. 51.
Idem, 1912, p. 134; 1913, p. 19. This author, I think without sufficient reason, attributes to the same painter an enthroned Madonna in the library of the Mont’ Oliveto monastery and the already mentioned Madonna in the Collegiata of Asciano.
Attributed by Suida to Meo da Siena, Jahrbuch der Preus. Kunstsamml.. 1905, p. 28, by Venturi to the painter of the Madonna (no. 565) in the National Gallery, and by others to Segna.
A. Venturi, Un opera di Duccio di B. a Copenhagen etc., L’Arte, XXIV, 1921, p. 198. The catalogue of the Glyptotheca mentions the correct attribution to the Master of Citta di Castello made by Mario Krohn.
Rassegna d’Arte, XIX, 1919, p. 96. The considerably damaged fresco adorns a niche — no doubt an altar — in a lumber room, to the left of the church.
H. Franchi, Rassegna d Arte Senese, 1907, p. 6. Lusini, Idem, 1912, p. 134.
Catalogued as such; also attributed to D. by Berenson, The Central Italian Painters, p. 163. Rassegna d’Arte, 1912, p. 121; ascribed to his school by Perkins, Rassegna d’Arte, 1913, p. 7.
Weigelt, p. 193, remarks upon a close connection with Niccolo di Segna’s art, which I am unable to see.
Reprod. Weigelt, pl. 61. Attributed to Duccio by P. P. Weiner, L’Esposizione di quadri antiche promossa a Pietroburgo della Rivista Starije Godij, L’Arte, XII, 1909, p. 220; and by F. Sapori, Rassegna d’Arte Senese, 191o, p. 83.
In the catalogue the Berlin panel is attributed to the “School of Cimabue”. The picture in the Saracini collection was believed by Messrs. Berenson and Douglas to be by Duccio himself, although the former is now less affirmative about the matter. See the Catalogue of a Collection of Paintings and some art Objects: Italian Painting, Philadelphia, 1913.
In addition to the numerous works by Ugolino, Segna, or his son and their disciples, there is still a certain number of paintings belonging to the school of Duccio. Most of these were included in the Ducciesque exhibition held at Siena in 1912. A few of the following are known to me only by the evidence of catalogues, critical essays, etc., so that, if they have lately changed hands, the possibility exists of my quoting the same work twice. Siena, Orphanage, Madonna and Child; Gallery, no. 21, crucifix, with the Virgin and St. John on the terminals of the cross-bar; it betrays a stylistic relation to the crucifix attributed to Masarello di Gilio, but is of inferior quality; it is the work of the artist who made the crucifix of Pienza; no. 44, a grandiose but coarse half-length figure of the Madonna; no. 314, a half-length figure of St. Paul, from a polyptych. In 1912, the antique dealer, Merlotti of Siena, possessed a Madonna enthroned; the brothers Turini a weeping Madonna from the side terminal of a crucifix, and Signor Morandi a Madonna. At the exhibition of Sienese art held at Siena in 1904, I find attributed to Duccio or artists under his influence the following: Room 27, no. 3o, an enthroned Madonna, the property of the brothers Pannilini, San Giovanni d’Asso; and no. 36, a Madonna enthroned, feeding the Child, the property of the brothers Griccioli. In the region of Siena: Buonconvento, in SS. Pietro e Paolo, on the altar to the left, a Madonna (considerably damaged); it shows a close stylistyc connection with the works of the master of Badia a Isola; Castelnnuzio, Pieve, Madonna (much restored); San Galgano, Pieve, Madonna; San Gimignano, Conservatorio, polyptych, Madonna enthroned between SS. Francis and Clare of Assisi, above the principal figures are some smaller representations of saints, several of which have disappeared (entirely repainted); Montalcino, hospital-cloister, fragment of a Crucifixion; sacristy of S. Antonio (besides the four panels in the manner of Segna), two panels of a polyptych, the Baptist and a holy bishop with an angel and St. Paul in the apices; they were repainted, at a rather late date and are not of very good quality; mention is made of a mourning Virgin (fragment of a crucifix) in the Conservatorio, but it is no longer to be found there Montisi, Annunziata, a small fine crucifix (much damaged, the extremities being cut off); Mont’ Oliveto Maggiore, Biblioteca, Madonna, enthroned with the Annunciation above (damaged); Pienza, S. Francesco, a crucifix, which is by the same hand, as that in the Gallery of Siena (no. 21); Pith, S. Rocco, Madonna (restored); San Polo Chianti), Pieve, crucifix with the Saviour, the Virgin and St. John on the terminal panels; Rocca-di-Papa, Duomo, half-length figure of the Madonna with the Child, coarsely painted and restored. PUBLIC AND PRIVATE COLLECTIONS: — Chicago, Reyerson collection, Madonna (T. Breck, Art in America, 1913, p. 112); Frankfort-on-Main) Städelsches Kunstinstitut, triptych
In 1908 Mr. Langton Douglas informed us that these panels belonged respectively to Messrs. Meyers, Wagner, and White. Of the smaller half-length figures one was the property of Lord Crawford, four of Mr. Charles Butler and two of Mr. Langton Douglas, while Mr. Wagner and Col. Warner Ottley owned other fragments (Crowe and Cavalcaselle, III, p. 23 etc.).
F. M. Perkins, Alcuni appunti sulla Galleria delle Belli Arti di Siena, Rassegna d’Arte Senese, 1908, p. 48. De Nicola, Catalogo, no. 41, calls it “in the manner of Ugolino”.
G. De Nicola, Ugolino e Simone a San Casciano, Val di Pesa, L’Arte, 1916, p. 13.
Published by F. M. Perkins, Rassegna d’Arte Senese, 1908, p. 5o; Rassegna d’Arte, 1913, p. 8; and by Weigelt, op. cit., p. 186. Lusini, Rassegna d’Arte Senese, 1912, p. 124.
Perkins, Rassegna d’Arte, 1913, p. 8. De Nicola, op. cit.
B. Berenson, Catalogue of a Collection of Paintings.
A. Venturi, op. cit., V, p. 587, note.
This picture was attributed to Ugolino by Mr. Perkins, but is generally ascribed to Duccio, v. von Terey, Der Gemälde Gallerie etc. in Budapest, Berlin, 1916, p 22; Lusini, Rassegna d’Arte Senese, 1912, p. 139; Berenson, Central Italian Painters, p. 163, Duccio ?
Rassegna d’Arte Senese, 1912, p. 143.
Lusini, Rassegna d’Arte Senese, 1913, p. 3o De Nicola, Catalogo, nos. 79–82, ascribes these panels to the Master of Citta di Castello.
Lusini Rassegna d’Arte Senese, 1912, p. 128. F. M. Perkins, Rassegna d’Arte, 1913, p. 8. Previously these panels also were in the S. Giovanni Battista church of this little town.
This assumption was previously made by F. M. Perkins, Rassegna d’Arte, 1913, p. 8.
de Grüneisen, I ritratti di Monna Muccia e di un Committente ignoto. nella mostra Ducciana di Siena, Rassegna d’Arte Senese, 1912, p. 52. De Nicola, op. cit., and Catalogo, no. 47. I cannot agree with the opinion here expressed that this picture might be by Ugolino himself.
F. M. Perkins, Some Sienese Paintings in American Collections, Art in America, 1920, p. 200.
De Nicola, Catalogo, no. 87 and Lusini, Rassegna d’Arte Senese, 1912, p. 37, date it about 1330. I should be inclined to place it even later.
Curiously enough, this inartistic painting has on several occasions been attributed to Barna da Siena: G. B. Manned, Una tavola del Barna, Rassegna d’Arte Senese, 1905, p. 88. F. Bargagli Petrucci, Montepulciano, Chiusi, etc, Bergamo, 1937, p. 28.
B. Berenson, Ugolino Lorenzetti, Art in America, October and December]917, Mr. Perkins, Rassegna d’Arte, 1913, p. 9, had already grouped together some of this artist’s works. See also De Nicola, Burlington Magazine, XXII, p. 147, and Rassegna d’Arte, 1919, p. 95, where he points out the possibility that this anonymous artist might be indentified with Biagio da Siena.
F. M. Perkins, Some Sienese Paintings in American Collections, Art in America, 1920, p. 282.
A cusped panel in the Berlin Museum showing the Birth of Christ, with a row of angels in the grotto above the manger; the Virgin seated on the ground, touching the manger; the Child turned toward the approaching shepherds, who in the right-hand corner are seen receiving the angelic message; the Adoration, and, in a medallion, above the Annunciation, is in the Catalogue attributed to Ambrogio Lorenzetti, but is rather a production of the school of Ugolino Lorenzetti. The Madonna bears most resemblance to that in the Lehman collection. at Castiglione Fiorentino appears here likewise, but it is less noticeable in the crucifix of Arezzo (fig. 84). The body hangs heavily from the upstretched arms; the head is deeply bowed; the knees much bent; the anatomy is well observed and the figure not
v. De Nicola, op. cit., p. 21, etc. with reproduction. F. M. Perkins, The Burlington Magazine, 1904, p. 83, note 7. Rassegna d’Arte, 1904, p. 191. Weigelt, and some others, however, attribute it to the school of Duccio, without being more precise.
C. A. Niccolosi, Il Litorale Maremmano, Bergamo, 1910, p. 117
Perkins, Rassegna d’Arte Senese, 1908, p. 7. De Nicola, Catalogo, no. 38, qualifies it as in the “manner of Segna”.
Perkins, Rassegna d’Arte Senese, 1908, p. 7, and 1913, p. 196.
Perkins, Art. in America, 1920, p. 195. This picture appeared at the exhibition of Sienese art as the property of Signor Giuggioli.
Perkins, Rassegna d’Arte, 1913, p. 6, note 4. De Nicola, Catalogo, no. 72, describes it as in the “manner of Segna”.
At the Burlington Exhibition of Sienese Art it was even listed as a work of Duccio’s. It has been attributed to Segna by Venturi, Lusini (Rassegna d’Arte Senese, 1912, p. 5o) Perkins (Rassegna d’Arte, 1913, p. 38 note 8), and, somewhat hesitatingly, by Messrs. Weigelt and Langton Douglas.
De Nicola, op. cit, p. 32, note 2. Once Mr. Perkins attributed to Segna’s later manner the SS. Louis and Francis in the Gallery of Siena (Rassegna d’Arte Senese, 1908, p. 48) but afterwards retracted this opinion (Rassegna d’Arte, 1917, p. 45). Prof. Venturi (L’Arte, 1905, p. 425) attributed to Segna a Nativity then in the Sterbini collection, Rome, but afterwards in the Johnson collection, Philadelphia, which, however, belongs to the school of Cavallini. See vol. I, p. 540.
Mr. Langton Douglas has already commented on this influence, op. cit., p. 28, note.
F. M. Perkins, Rassegna d’Arte, 1908, p. 38, and Art in America, 1920, p. 199. It was attributed to Duccio himself by Mr. Berenson.
Mr. Perkins, Art in America, 1920, p. 199, has already attributed these two works to the same artist. In the Museum catalogue the second panel is ascribed to Segna.
Published by Mr. Perkins, idem, p. 36, as probably by Niccola di Segna.
Catalogued under Niccolo di Segna to whom other critics also attribute it. von Terey, op. cit., p. 29. Suida. L’Arte, 1907, p. 178, ascribed it to Segna.
B. Cagnola, Rassegna d’Arte Senese, 1908, p. 45, published it as a work of Segna’s.
Attributed to Segna by Langton Douglas, Crowe and Cavalcaselle, III, p. 28, note 1. This opinion is not shared by Tancred Borenius, Pictures by the Old Masters in the Library of Christ Church, Oxford, etc, 1916, p. 38.
Mr. Ferkins, Rassegna d’Arte, 19 r3, p. 38, note 4, believes this picture to be by a contemporary of Bartoli di Fredi or Lucca di Tomme, in which I concur, although I fail to note here the resemblance to the latter artist’s manner which this critic perceives. Crowe and Cavalcaselle and their recent commentators ascribe this picture to Niccolo di Segna.
Sacristy, Madonna; Sta. Marta. (orphanage), Madonna; in the Abbey of S. Eugenio (residential part), enthroned Madonna with Child standing on her knee, attended by two saints and angels; a Crucifixion, with the Virgin and St. John in the apex; the Exhibition of Sienese Art, 1904, p.1305–306 of Catalogue, nos. 14 and 18 In the region of Siena: Casole d’Elsa, chapel of the Franciscans, on the altar, a much repainted half-length figure of the Madonna; Castiglion d’Orcia, in the house of the curate of the Pieve, previously in the church, Madonna with Child, Who sucks His fingers (fig. 107) (Bargagli Petrucci, Pienze, etc, p. 119 ); San Gimignano, Sta. Chiara, Madonna and eight adoring saints (repainted), attributed to Segna by Perkins (Rassegna
Francesco painted in 1339 a panel for the town hall of Bagno di Petriccoli, G. Milanesi, Siena e il suo territorio, p. 166 and: Sulla Storia dell’Arte Toscana, p. 46.
Weigelt, op. cit., p. 191. Herr Weigelt is the only author I know who admires Niccolo’s manner, rating him even higher than his father.
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Van Marle, R. (1924). School of Duccio. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2798-9_2
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