『グアリーノの聖母』板絵の帰属に関する考察

概要

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A thirteenth century Italian panel painting, so called as the "Madonna Gualino," of Galleria Sabauda at Turin, was once generally attributed to Florentine School related to Cimabue, but recently tends to be attributed to Sienese Duccio or one of his milieus. Actually this Madonna shows some stylistic elements very close to Duccio's "Madonna Rucellai" dating from 1285. However, from around this year to the end of the century, the styles of Duccio and Cimabue came so close that their works from this period are almost indistingushable. Still today, attributions of some works from this time, for example the grand oculus of the Cathedral of Siena, the Frick Flagellation, or the "Madonna Castelfiorentino," are swinging between these two painters. This fact seems to prove that the style can not always function as a decisive factor for attributions of works around Duccio and Cimabue or Sienese and Florentine of these years. On this short essay, I make an attempt at the attribution of the "Madonna Gualino" with a view point different from the style. The panel of Turin shows a throne with a back panel, whose both sides expand outword, making it as the lyre type. At both ends of the throne back, angels behind it show as busts, adorening the Virgin and Child enthroned. Christ Child, standing on his Mother's knee and touching her neck with his left hand, shows an unique iconography. These elements can be seen in other Florentine paintings in the thirteenth century. The lyre type throne back can be recognized in Cimabue's Madonna of the Church of the Servites in Bologna and Meliore's panel of the Museo d'Arte Sacra at Tavarnelle Val di Pesa. Angels behind the throne showing as busts are constantly represented as a custom during the second half of the thirteenth century, from Meliore to an anonym, conveniently named as the "Maestro di Varlungo." And the iconography of Christ standing and touching the Virgin's neck can be seen only in Florentine works in the thirteenth century, for example Cimabue's Madonna at Bologna or the Madonna of S. Remigio at Florence, etc. But none or little of these elements can be seen in Sienese paintings of the last half of this century, both Guidesque and Duccio's including Duccesque. Because of these facts, I consider that the "Madonna Gualino" must be attributed to Florentine, rather than to Duccio or Sienese School. And since this Madonna shares some stylistic elements with the "Madonna Rucellai," this panel must be dated later than 1285. Dating toward 1290 seems to be more probable.
2004-03-30

『グアリーノの聖母』板絵の帰属に関する考察

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