Beskrivning: Se beskrivning i den engelska versionen.

Catalogue raisonné: Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 137:

TECHNICAL NOTES: The support is a single hardwood board
(poplar). At some point the painting has been transferred to a new
panel. Later a cradle was attached to the verso. The left side and
upper left corner are a later addition, and both the left and the
right side of the panel are cropped. The gesso ground is white and
covers the whole support. The paint layer has partially been overpainted;
only some areas of the face are original. The varnish is
discoloured. Documented restorations: 1927: Flaking colour consolidated.
Retouching; 1938: Consolidation of paint layer; 1969:
Consolidation of paint layer. Varnish; 1979: Consolidation of flaking
colour. Varnish.

PROVENANCE: Gift of a consortium, 1918.

BIBLIOGRAPHY: Sirén 1933, p. 44; NM Cat. 1990, p. 416 (as anonymous,
15th century).

A putto runs in front of a rose hedge with his
hands full of roses. He is dressed in an originally
blue garment with a red lining, against a background
of green leaves and red and white roses.
The putto fills much of the scene, suggesting that
the panel is a fragment of a larger painting, probably
with another putto on the opposite side, the
two of them flanking a central scene.

The panel was earlier attributed to Melozzo da
Forlì, but according to Giuseppe Fiocco it may
have been painted by Francesco Pesellino or in the
manner of Domenico Veneziano. Osvald Sirén
discusses the panel in connection with others
attributed to Pesellino, but proposes an attribution
to the Maestro del Politico di San Miniato,
an anonymous master named after an altarpiece
in San Miniato al Tedesco in Val d’Arno.¹ Furthermore,
he suggests that the panel is a fragment
from an octagonal wedding chest or desco da
parto.² As roses are often connected with marriage
and wedding ceremonies, this is a plausible
hypothesis, and it is reasonable to assume that the
panel was executed in Tuscany around 1450.

The painting was transferred to new panel
around 1900 and has some major retouches, possibly
partly due to this restoration. It was given to
the Museum by a consortium in 1918.
je
1 Sirén 1933, p. 44.
2 Ibid. [End]

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Francesco Pesellino | Putto vid rosenhäck | Nationalmuseum

Francesco Pesellino | Putto in front of a Hedge of Roses | Nationalmuseum

Foto: Erik Cornelius / Nationalmuseum 2012