1917: Donatello, Madonna of the Clouds (c.1425-35)
Transatlantic entanglements
by Sophie Giger
To this day, the origin of the Madonna of the Clouds is still unknown, although scholars agree on Donatello’s authorship. In 1895, Stefano Bardini sold the marble relief to the Boston investor and art collector Quincy Adams Shaw, who donated to the Boston Museum of Fine Arts in 1917. While resulting from Shaw’s peculiar interest for early Renaissance sculpture, the sale of the marble also exemplify the entanglement between museums, connoisseurship and the international art market at the turn of the 20th century, notably through the figure of the art dealer Stefano Bardini.
WORK RECORD
Virgin and Child (so-called Madonna of the Clouds), Donatello, about 1425-35, marble, 33.1 x 32 cm, inv. 17.1470
Gift of Quincy Adams Shaw through Quincy Adams Shaw, Jr. and Mrs. Marian Shaw Haughton, 1917 Boston (Accession Date: March 29, 1917)
Now in: Boston, Museum of Fine Arts
Originally from: Italy, Florence
Passed through: Unknown location (15th-19th century); Florence, Stefano Bardini (?-1895); Boston, Quincy Adams Shaw (1895-1917); Boston, Museum of Fine Arts (from 1917)
COMMENTARY
Since it has been sold by the Italian art dealer Stefano Bardini in 1895, the extraordinary marble relief Madonna of the clouds by the hand of Donatello not only came into the possession of the US collector Quincy Adams Shaw, but also entered the scholarly debate, first and foremost because it has been associated with Donatello since it became known, although its provenance has been the subject of much debate. Following Shaw´s death, the relief officially entered the art collection of the Museum of Fine Arts in Boston in 1917, where it still is today.[1]
Despite its unknown past, connoisseurs today agree on the work’s attribution to Donatello. According to scholars, the composition and naturalism indicate Donatello’s authorship.[2] Donatello’s Madonna of the Clouds depicts the Virgin Mary, sitting in the clouds, holding the child in her lap. The Madonna is shown in profile while Mother and Child are surrounded by a swirling cloud of angels and putti. The Madonna’s serene and sad expression seems to foreshadow Christ’s tragic future.
Donatello combines two iconographical programs here. The seated Madonna conveys the idea of the Madonna of Humility, first developed by Sienese and Florentine painting in the Trecento, characteristically with a frontal view on golden background.[3] Furthermore, the clouds in the Boston Madonna refer to the Assumption of the Virgin, as also depicted by Donatello in the central part of the Funerary Monument to Cardinal Rinaldo Brancaccio in the Church of Sant’Angelo a Nilo in Naples (Fig.2).[4] Donatello’s decision to firstly combine the two iconographical programs and secondly to show the Madonna not frontally but in profile while seated on the clouds is unprecedented.[5] The entire composition is set in a frame, which was created by not hollowing out the edges.
Scholars disagree on the marble’s dating. Stefano Bardini did not record any information in this matter. Based on Wilhelm Bode’s report of the marble as coming from a church in Rome, certain scholars first assumed the relief to be dated to Donatello’s time in Rome around 1432-1433.[6]
While the Museum of Fine Arts in Boston and the recent Donatello exhibition in London assign the relief to a broad time frame from 1425 to 1435, scholars mostly agree to narrow down its chronology between 1425 and 1430.[7] This is also because, just like the Brancaccio Assumption, our marble shows stylistic similarities with another relief by Donatello created in the 1420s, the Ascension with Christ giving the keys to St. Peter (Victoria and Albert Museum, London).[8] Based on the relatively small size of the relief and the unusual square format of the object, scholars assume that the relief was a private commission and/or part of a larger ornamental work.[9]
Giorgio Vasari and the Del Pugliese Triptych (1560s-1992)
The provenance of the Madonna of the clouds is still a matter of debate among scholars today. The debate has its origins in Vasari’s Vite, where he mentioned a small marble Madonna by Donatello twice.[10]
While we must interpret Vasari’s Vite very carefully, his comments are nonetheless a reference, as we know of only a few marble reliefs by Donatello depicting the Madonna and Child. But they are indeed, as critics argue, very vague and open to interpretation, which makes the discussion of Donatello’s marble reliefs quite speculative.[11] According to Vasari, Donatello carved reliefs out of marble, with a technique Donatello invented. Vasari called this sophisticated technique “rilievo schiacciato”.[12] It allowed Donatello to create images with a deep spatial illusion only by a subtle, extremely shallow carving.
Vasari reports in 1568 in his Vita of Donatello to have seen a marble Madonna by Donatello in the “scrittoio” (study room) of Duke Cosimo de’ Medici.[13] According to him, Piero del Pugliese commissioned to the painter Fra Bartolommeo a tabernacle to enclose the marble.[14] Raffaello Borghini describes the relief as intact in 1584, when it was in the study of Francesco I de’ Medici.
When the Tribuna of the Medici collection at the Uffizi was built in the 1580s, the triptych was also listed in the collection’s inventory. However, by that time, the tabernacle had already been dismembered, the relief was removed, and thus all information about its whereabouts was lost, while its painted doors are still in the Uffizi today. [15] Based on the analysis of Vasari’s writings, Hans Kaufmann was the first to argue in 1935 that Vasari must have described the Madonna in the clouds.[16] Georg Swarzenski expanded Kauffmann’s theory, which has since been repeated with diminishing persuasion.[17]
Francesco Caglioti and the attribution of the Dudley Madonna to Donatello (1992-)
The art historical debate changed when in 1992 Francesco Caglioti first attributed a marble relief held at the Victoria and Albert Museum of London, the Dudley Madonna, to Donatello and not to Desiderio da Settignano, as it had been assumed until then. Thus, Caglioti argued that the Dudley Madonna, and not the Madonna of the clouds, was the center of the Del Pugliese Triptych.[18]
One of his main arguments is the size of the Madonna of the clouds. A thorough comparison of the dimensions, the square format as well as the composition are factors that make it unlikely for Caglioti to consider the Madonna of the Clouds as the marble described by Vasari. Scholars are thus still divided on this attribution. Up to this day, the website of the Victoria and Albert Museum identify the Dudley Madonna as a derivation from a design by Donatello and Desiderio da Settignano. In the recent Donatello exhibition in London, curators Whitney Kerr-Lewis and Peta Motture stated that the Dudley Madonna probably derives from a lost original, be it Donatello or Desiderio da Settignano and put the dating up for debate, without excluding the possibility of it being a 19th century forgery.[19]
Regardless of the identification with Vasari’s text, the original location and function of the Madonna of the Clouds is at the center of many interpretations. Dunkelman and Coolidge underlined the changing effect of the relief, depending on the angle of view and light. According to these scholars, Donatello composed the relief specifically for a position above eye level and to be illuminated from below, like a devotional picture in a private household , or as Coolidge argues, a part of a monumental work in a sacristy.[20] Rowley argues that the rough chisel marks on the reverse are an indication the Madonna of the Clouds was part of a larger ornamental work or a monumental complex.[21]
Regarding the provenance, many questions remain unanswered. The sources are not fully reliable. Whether as a portable relief in the middle of a tabernacle, as a private commission for a Florentine family, as part of a church or a larger decoration – the possible provenances are numerous and do not simplify the discussion surrounding the history of the Madonna of the clouds. In the absence of documentary evidence, the discussion remains crucially intertwined with connoisseurship.
The marble’s entry into the art market through Stefano Bardini (1895-1917)
How, when or where the Florentine art dealer Stefano Bardini came into possession of the Madonna of the clouds is unknown. In 1905, Bode stated that the work came from a church in Rome, this assumption is unlikely and is unanimously rejected by researchers, who argued that the marble must have stayed around Florence.[22] This hypothesis is supported by the fact that there are drawings and copies of the Madonna of the Clouds by artists who lived and worked in Florence and not in Rome (Fig.3).[23]
In the spring of 1895, Stefano Bardini sold the relief to Quincy Adams Shaw.[24] In the course of this research, the artwork’s price could not be determined. Shaw, a Boston industrialist and investor in the Calumet and Hecla Mining Company is known for his exceptional art collection.[25] Born in 1825, Shaw graduated from Harvard in 1845. His collection of art can be distinguished as the earliest formed collection of Renaissance sculpture in America, beginning in 1870.[26] He visited Italy, especially Florence, on a regular basis and was friends with Stefano Bardini.[27]
Even before the relief arrived in Boston in December 1895, Wilhelm Bode was planning to include the marble in his publication Denkmäler der Renaissance[28], which means, he and Bardini must have been in exchange about it already throughout the year.[29] Bardini must have given or sent Bode the photographs of the work. Bode therefore integrated the marble into academic discourse, making it known to the public and officially attributing it to Donatello.[30] Here it becomes particularly apparent how efficient the art historical network between Italy, Germany and the United States functioned.
In 1908, Quincy Adams Shaw died and nine years later his collection was bequeathed to the Museum of Fine Arts (MFA) in Boston.[31] In March 1917 his son and daughter, Quincy Adams Shaw Jr. and Marian Shaw Haughton, officially bequeathed the collection according to Shaw’s will, including 56 paintings by Jean Francois Millet and a total of 19 Quattrocento-Renaissance sculptures.[32] As Marietta Cambareri argues in her research on the history of the MFA, Shaw’s collection of art must have been on display at the museum from at least 1902 onwards.[33]
It can thus be stated that Shaw’s relationship with the MFA was close. Since the museum’s founding in the 1870s, Shaw had already been making individual works available to the museum’s public.[34] The question then arises to what extent Shaw’s collection already marked the beginning of early “institutional purchasing” by American art museums.[35]
Due to the rapid growth of the museum’s art collection towards the end of the 19th century, a new museum wing was built from 1915 onwards, in which the Shaw collection had to be displayed in accordance with his will.[36] The collection finally opened to the public in 1918.[37]
The Transatlantic Art Market around 1900 (1895-1918)
In 1895, Wilhelm Bode informed Quincy Adams Shaw of his plans to publish the Madonna of the Clouds and its attribution to Donatello. In response to Bode’s letter, Shaw replied to Bode on January 29th, 1896:
“[…] You are a very dreadful person with all your publishing, and I see you have got a photograph of the little Donatello Bas Relief and will give that in the forthcoming publication – and I saw that Bardini had got a Cast from it and countless photographs as well. I don’t mind much (as boys say) but my instincts are quite the other way, and when I have something that is sympathetic to me, save to a few, I rather prefer that nothing is known about it. That small marble is a great pleasure to me, disposing one to grave and tender thoughts, a daily influence that never fails as I look at it.”[38]
From this correspondence we can conclude several key observations. Firstly, one recognizes a sincere and personal interest in art on Shaw’s part.[39] Secondly, how important anonymity was to Shaw and how Bardini’s photographic and documentation practice undermined his discretion.[40] But most importantly, it becomes apparent how Bardini, Bode and Shaw ultimately all depended on each other, despite their divergent intentions.
Lynn Catterson has published important research on the Italian art market of the 19th century, in particular the role of Stefano Bardini. Born in 1836, Bardini was an artist, art dealer, collector, and photographer. For his time, he cultivated an incredibly large network.[41]
Stefano Bardini was trained as an artist at the Accademia di Belle Arti during the years of Italian unification. Bardini’s generation was drawn to the time of Lorenzo the Magnificent de’ Medici, a desired continuation of the golden age of Florence.[42] Thus, for political and cultural reasons, Florence began in the second half of the 19th century to hark back on the 15th century. And it is in this context the collecting interest of Stefano Bardini must be understood.[43]
It should be noted here that Quincy Adams Shaw’s friendship with Bardini marks the very years in which Shaw began to build up his art collection, namely in the 1870s.[44] Through Bardini, Quincy Adams Shaw acquired many pieces of the Renaissance and, specifically, Renaissance sculpture for his collection.
With the rise of the global art market in the second half of the 19th century, art history as a professional and academic discipline emerged.[45] Stefano Bardini provided not only art, but also the academic expertise needed to reliably attribute the objects he sold.[46] To this end, he cultivated close ties with art historians and scholars, including Wilhelm Bode, who also acquired works from his stock.
In conclusion, Bode was dependent on Bardini’s trade in Renaissance art for his acquisitions for the Berlin museums. Bardini benefited from Bode both as a client and scholar, and Shaw in turn secured the authenticity and value of his works through Bode’s appraisals.[47]
While the Madonna of the Clouds is a unique example of Shaw’s peculiar interest in Donatello’s art[48], its purchase reveals the networks and influences connecting American collectors of the time with European museums through the art market and the direct involvement of individuals, such as Stefano Bardini. He was a major influence on the Italian art market and directed what was collected by American collectors and how. Because early American institutions relied decidedly on private collections and donations, these continue to shape the collections of North America’s museums today, as it is the case in Boston.[49]
The Madonna of the Clouds is just one of many Renaissance objects that were traded during the decades around 1900, although it is the only generally accepted Donatello currently in the USA.[50] The Renaissance art collection of Quincy Adams Shaw came under heavy criticism in the 1930s, as a large part was assumed to consist of forgeries.
In fact, little is known about the provenances of many artworks of the Shaw collection prior to their sale by Bardini, such as the Bust of Lorenzo de’ Medici in the manner of Verrocchio and the Nativity by Tintoretto.[51] These allegations have been partially refuted – especially in the case of the Madonna of the Clouds, there is agreement on Donatello’s authorship. The question of how Stefano Bardini came into possession of the relief and its provenance, however, remains unanswered and disputed to this day.
[1] Cambareri 2011, p. 103; Catterson 2017, p. 318.
[2] Rowley, in Florence 2022, p. 380; Rowley, in Berlin 2022, p. 172; Cambareri, in London 2023, p. 152.
[3] Swarzenski 1942, p. 66; Caglioti, in Florence 1992, p. 69.
[4] Pope-Hennessy 1993, p. 122; Rowley, in Berlin 2022, p. 172.
[5] Janson 1979, p. 87.
[6] Janson 1979, p. 88; Avery 1989, p. 224.
[7] Swarzenski 1942, p. 65; Janson 1979, p. 88; Caglioti, in Florence 1992, p. 69; Pope-Hennessy 1993, p. 256; Berlin 2022, p. 172; Florence 2022, p. 380; London 2023, p.152.
[8] Pope-Hennessy 1993, p. 122/126.
[9] Swarzenski, 1942, p. 68; Coolidge 1973, pp. 130-131, Pope-Hennessy 1993, p. 256; Dunkelman 2006, p. 7; Rowley, in Berlin 2022, p. 172; Caglioti, in 2022, pp. 232-235, ; Cavazzini, in London 2023, p.152.
[10] Vasari 1550/1568 [1976], vol. 4, p. 89; Vasari 1550/1568 [1976], vol.3, p. 218.
[11] Caglioti, in Florence 1992, p. 71.
[12] Fehrenbach, in Berlin 2022, p. 59.
[13] Vasari writes in “Vita di Donato Scultore Fiorentino”: “nella guardaroba del signor duca Cosimo […] una Nostra Donna col Figliuolo in braccio, dentro nel marmo di schiacciato rilievo, […] e massimamente avendo un fornimento intorno di storie fatte di minio da fra Bartolommeo […].” (Vasari 1550 /1568 [1976], vol. 3, p. 218)
At another sequence in “Vita di Fra’Bartolomeo di S. Marco” Vasari writes: “Aveva Pier del Pugliese avuto una Nostra Donna piccolo di marmo, di bassissimo rilievo, di mano di Donatello, cosa rarissima, la quale per maggiormente onorala gli fece fare uno tabernacolo di legno per chiuderla con dua sportellini, che datolo a Baccio dalla Porta […] Questa opera e oggi nello scrittoio del duca Cosimo […]” (Vasari 1550/1568 [1976], vol. 4, p. 89).
[14] Piero del Pugliese died in 1498, so the two panels must have been made before 1498. The exhibition catalog from Florence dates the two wooden doors around 1497. See also Swarzenski 1942, p. 70; Wilkins 2002, p. 392, Cavazzini, in Florence 2022, p. 414
[15] Cavazzini, in Florence 2022, p. 414.
[16] Kauffmann 1935, p. 69 et sqq.
[17] Kauffmann 1935, p. 218-219, note 213; Swarzenski 1942, p. 68; Janson 1979, p. 87; Avery 1989, p. 224; Caglioti, in Florence 1992, p. 69; Pope-Hennessy 1993, p. 256; Dunkelman 2006, p. 9.
[18] In his analysis of the Dudley Madonna, Caglioti also pointed out the stylistic analogies with Donatello’s work and the tabernacle’s connection with drawings by Fra Bartolomeo in the Uffizi.
[19] Whitney Kerr-Lewis and Peta Motture, in London 2023, p. 251; https://collections.vam.ac.uk/item/O96302/virgin-and-child-dudley-madonna-relief-donatello/, accessed on 10.12.2023.
[20] Coolidge 1973, p. 131; Pope-Hennessy 1993, p. 256; Dunkelman 2006, pp. 3-9.
[21] Swarzenski 1942, p. 68; Coolidge 1973, p. 130; Caglioti, in Florence 1992, p. 69; Rowley, in Berlin 2022, p. 172.
[22] Bode 1905, p. 42; Swarzenski 1942, p. 68; Berlin 2022, p. 172.
[23] Such as Alonso Berruguete’s study of around 1510 now at the Uffizi (Gabinetto dei Disegni e delle Stampe delle Gallerie degli Uffizi, inv: 9124S v.); Caglioti, in Florence 1992, p. 71; de Marchi, in Florence 2022, p. 384.
[24] Catterson 2020, p. 504, note 13.
[25] Sammarco 2009, http://foresthillstrust.blogspot.com/2009/12/quincy-adams-shaw-1825-1908-was-major.html/, accessed April 4, 2023.
[26] Cambareri 2011, p. 103; Catterson 2020a, p. 503.
[27] Catterson 2017, p. 319.
[28] Bode’s Denkmäler der Renaissance is officially dated 1895. However, based on the correspondence of the three men, researched in depth by Lynn Catterson as part of her research on the art market in Italy in the 19th century, it can be assumed that the book was not published before 1896. Shaw wrote to Bardini as late as winter 1896 that Bode told him that he was “soon to publish his notes on Donatello’s works and shall mention the small marble he saw in Florence; his position makes publishing almost a necessity.” (Catterson 2020a, p. 504, note 13)
[29] SMB-ZA, IV/NL Bode 5102, 29.01.1896; Bode 1895, Tafel 151; Catterson 2020a, p. 504.
[30] Bode 1895, Tafel 151, Bode 1905, p. 1905, p. 42.
[31] Cambareri 2011 p. 103.
[32] G. (Trustees of the Boston Museum of Fine Arts) 1918, p. 11.
[33] Cambareri 2011, p. 103.
[34] Cambareri 2011, p. 103, MFA https://collections.mfa.org/objects/31121 accessed April 4, 2023.
[35] Catterson 2017, p. 320.
[36] G. (Trustees of the Boston Museum of Fine Arts) 1918, p. 11.
[37] MFA, https://collections.mfa.org/objects/58904, accessed April 4, 2023.
[38] SMB-ZA, IV/NL Bode 5102, 29.01.1896; Shaw refers here to the term “bas relief” in distinction to “relief” or “marble”. Moreover, it is the only object Shaw owns by Donatello. There is therefore no doubt that Shaw is referring here to the Madonna of the Clouds.
[39] After all, Bode complained 1911 in an interview to the American Art News (Vol. 10, no. 7, p. 6) about the lack of interest in art among many American collectors and said: “some noted American collectors rush through Europe in a motor and one I know has been to Europe twice only in his life.” As we know, Bode’s comment did not refer to Shaw.
[40] For further information on Bardini’s photographic practice see Catterson 2020b.
[41] His network can be traced, for example, through the business cards preserved in the Archivio Bardini in Florence. Catterson estimates up to 6000. They show how Bardini not only corresponded by letter, but also was in physical and personal exchange with his clients.
[42] Catterson 2017, p. 321.
[43] Catterson 2017, p. 321.
[44] The earliest extant letter between Shaw and Bardini dates back to 1874. Judging by the correspondence, they must have already established a friendship by this point.
[45] Catterson 2017, p. 322.
[46] Catterson 2020a, p. 503.
[47] Shaw writes on February 4th 1896 to Bode: “[…] in the matter of attributions I am obliged to look to those wiser than myself, and as the wisest among them I come to you, so when time and inclination serve tell me your judgement.[…]” (SMB-ZA, IV/NL Bode 5102, 04.02.1896).
[48] Shaw collected mainly Italian sculpture, while all the great collectors and institutions at the end of the 19th century gave greater importance to painting. See also Cambareri 2011, Catterson 2017.
[49] G. (Trustees of the Boston Museum of Fine Arts) 1918, p. 11; Catterson 2017, p. 322 et sqq.
[50] The attribution of the so-called Mellon Madonna, acquired by US collector Andrew W. Mellon from the art dealer Joseph Duveen in 1937 and donated to the National Gallery of Art in Washington, is still debated: N. Rowley in Berlin 2022, p.140; https://www.nga.gov/collection/art-object-page.119.html, accessed on 23.02.2024.
[51] Cambareri 2011, p. 107, Catterson 2017, p. 320. https://collections.mfa.org/objects/55524 and https://collections.mfa.org/objects/32992, accessed on 23.02.2024.
SOURCES
General Bibliography
Avery, Charles. “Donatello’s Madonnas revisited.” In: Donatello-Studien. Munich, Bruckmann, 1989: 219-234.
Bode, Wilhelm. “Denkmäler der Renaissance-Sculptur Toscanas: in historischer Anordnung.” Munich, Bruckmann, 1895.
Bode, Wilhelm. “Denkmäler der Renaissance-Sculptur Toscanas: in historischer Anordnung. Text” München, 1905.
Cambareri, Marietta. “Italian Renaissance Sculpture at the Museum of Fine Arts, Boston: The Early Years.” In Marshall, Christopher R. (ed.), Sculpture and the Museum. Farnham, Ashgate, 2011.
Catterson, Lynn. “American Collecting, Stefano Bardini & the Taste for Trequattrocento Florence.” Predella. Journal of Visual Arts, no. 41-42 (2017): 317-332.
Catterson 2020a: Catterson, Lynn. “Art Market, Social Network and Contamination: Bardini, Bode and the Madonna Pazzi Puzzle.” In: Catterson, Lynn (ed.), Florence, Berlin and Beyond : Late Nineteenth-Century Art Markets and Their Social Networks. Leiden, Brill, 2020.
Catterson 2020b: Catterson, Lynn. “From Visual Inventory to Trophy Clippings: Bardini & Co. and the Use of Photographs in the Late Nineteenth-Century Art Market.”Mitteilungen des Kunsthistorischen Institutes in Florenz, 62, no. 1 (2020): 69-91.
Coolidge, John. “Observations on Donatello´s Madonna of the Clouds.” In: Hartmann, Wolfgang (ed.), Festschrift Klaus Lankheit zum 20. Mai 1973. Köln, DuMont Schauberg, 1973.
Dunkelman, Martha. “Looking up into the clouds.” Source: Notes in the History of Art,25, no. 4 (2006): 3-9.
G. “The Quincy Adams Shaw Collection.” Museum of Fine Arts Bulletin 16, no. 94 (1918): pp. 11–27.
Janson, Horst W. The Sculpture of Donatello. Princeton, Princeton University Press, 1979 [1st ed. Princeton, 1957].
Kauffmann, Hans. Donatello: eine Einführung in sein Bilden und Denken. Berlin, Grote, 1935.
Le Gallerie degli Uffizi. “Francesco Caglioti – Donatello e il Cinquecento: il caso della Madonna Dudley”, https://www.uffizi.it/video/francesco-caglioti-donatello-e-il-cinquecento-il-caso-della-madonna-dudley, accessed on November 22, 2022.
MFA Boston. “Madonna of the Clouds”, hhttps://collections.mfa.org/objects/58904/madonna-of-the-clouds, accessed on November 25, 2022.
Pope-Hennessy, John. Donatello Sculptor. New York, Abbeville Pr., 1993.
Sammarco, Anthony M. “Historic Forest Hills Cemetery: Quincy Adams Shaw.” Historic Forest Hills Cemetery (blog), December 9, 2009. http://foresthillstrust.blogspot.com/2009/12/quincy-adams-shaw-1825-1908-was-major.html, accessed on April 4, 2023.
Smalcerz, Joanna. Smuggling the Renaissance : The Illicit Export of Artworks out of Italy, 1861-1909. Leiden, Brill, 2020.
Swarzenski, Georg. “Donatello’s ‘Madonna in the Clouds’ and Fra Bartolommeo.” Bulletin – Museum of Fine Arts, Boston,vol. 40, no. 240 (1942): 64-77.
Vasari, Giorgio. Le Vite de’ Più Eccellenti Pittori, Scultori e Architettori : Nelle Redazioni Del 1550 e 1568, edited by Rosanna Bettarini and Paola Barocchi. Florence, Sansoni, 1976.
Wilkins, David G. “Opening the Doors to Devotion: Trecento Triptychs and Suggestions Concerning Images and Domestic Practice in Florence.” Studies in the History of Art, vol. 61, 2002, pp. 370-393.
Exhibition catalogues
Berlin 2022: Rowley, Neville, with Francesco Caglioti; Laura Cavazzini; Aldo Galli, (eds.). . Catalogue of the Exhibition (Berlin, 2022-2023).Leipzig, E.A. Seemann, 2022.
Florence 2022: Caglioti, Francesco, with Laura Cavazzini; Aldo Galli; Neville Rowley (eds.). Donatello: The Renaissance. Catalogue of the Exhibition (Florence 2022).Venice, Marsilio, 2022.
Florence 1992: Barocchi, Paola (ed.), Il giardino di San Marco : maestri e compagni del Giovane Michelangelo 1992. Catalogue of the Exhibition (Florence 1992). Milan, Silvana Editore, 1992.
London 2023: Motture, Peta (ed.),. Donatello: Sculpting the Renaissance. Catalogue of the Exhibition (London, 2023), London, V&A Publishing, 2023.
ARCHIVES
SMB-ZA, IV/NL Bode 5102, Shaw, Quincy A.
SMB-ZA, IV/NL Bode 0629, Bardini, Stefano
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Cite as: Sophie Giger, 1917: Donatello, Madonna of the Clouds (c.1425-35), in: The Lives of Pictures | Das Leben der Bilder, edited by Matilde Cartolari, https://livespics.hypotheses.org/3070, published on 15.06.2024.
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OpenEdition suggests that you cite this post as follows:
Matilde Cartolari (ed.) (June 15, 2024). 1917: Donatello, Madonna of the Clouds (c.1425-35). The Lives of Pictures | . Retrieved December 5, 2024 from https://doi.org/10.58079/11u0w
