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拍品专文
The Saint John the Baptist and Anthony Abbot, originally formed part of an altarpiece, of which the main panel is a Madonna and Child, now in the Cleveland Museum, Ohio and the left side is a Saint Julian and James the Greater, now in a private collection. Each of the three panels conforms to the others in terms of size, design, marginal decoration and framing, and the design of the tiled floor forms a continuous link across all three panels.
The Cleveland panel has the original inscription on the base of the frame which reads 'Questa tavola a fato fare di Antonio di Domenico Giugni per rimedio della sua Anima anno Domini MCCCCXVIIII'. Thus the complete triptych was originally commissioned by marchese Domenico Guigni for the oratory of Santa Maria a Latera in the Mugello, just outside Florence. In his will of 1414, Giugni left 50 gold florins for the creation of such a work for the salvation of his soul. In 1516 the church was demolished and the triptych was transferred to the nearby church of San Jacopo alla Cavallina, where it is described in an eighteenth-century description of the church as still being complete.
Georg Pudelko (loc. cit.) recognised the connection between this picture and the Cleveland panel, and named the painter The Master of 1419, after the date of the latter. More recently Miklós Boskovits crystallized the corpus of this artist in which about a dozen altarpieces, altarpiece fragments and private devotional panels were assigned to a period ranging from around 1410 to 1430. Clearly the Santa Maria a Latera altarpiece assumes particular significance, partly because its date established that the artist made a significant contribution to the artistic trend of the day, but also as an example of a move away from the highly expressive Gothicisim of Lorenzo Monaco towards the more classicizing style which was to be developed by Fra Angelico.
The Santa Maria a Latera altarpiece's links to the early work of Fra Angelico and in particular the influence it had on the young artist's approach to the San Domenico high altar are given greater significance with the recent identification of the Master of 1419 as Battista di Biagio Sanguigni. The two artists are documented as having close connections as early as 1417 and it now seems probable that the San Domenico high altarpiece was developed by Angelico with the full awareness of Sanguigni's work.
The Cleveland panel has the original inscription on the base of the frame which reads 'Questa tavola a fato fare di Antonio di Domenico Giugni per rimedio della sua Anima anno Domini MCCCCXVIIII'. Thus the complete triptych was originally commissioned by marchese Domenico Guigni for the oratory of Santa Maria a Latera in the Mugello, just outside Florence. In his will of 1414, Giugni left 50 gold florins for the creation of such a work for the salvation of his soul. In 1516 the church was demolished and the triptych was transferred to the nearby church of San Jacopo alla Cavallina, where it is described in an eighteenth-century description of the church as still being complete.
Georg Pudelko (loc. cit.) recognised the connection between this picture and the Cleveland panel, and named the painter The Master of 1419, after the date of the latter. More recently Miklós Boskovits crystallized the corpus of this artist in which about a dozen altarpieces, altarpiece fragments and private devotional panels were assigned to a period ranging from around 1410 to 1430. Clearly the Santa Maria a Latera altarpiece assumes particular significance, partly because its date established that the artist made a significant contribution to the artistic trend of the day, but also as an example of a move away from the highly expressive Gothicisim of Lorenzo Monaco towards the more classicizing style which was to be developed by Fra Angelico.
The Santa Maria a Latera altarpiece's links to the early work of Fra Angelico and in particular the influence it had on the young artist's approach to the San Domenico high altar are given greater significance with the recent identification of the Master of 1419 as Battista di Biagio Sanguigni. The two artists are documented as having close connections as early as 1417 and it now seems probable that the San Domenico high altarpiece was developed by Angelico with the full awareness of Sanguigni's work.