Beskrivning: Se beskrivning i den engelska versionen.

Catalogue raisonné: Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 124: 

TECHNICAL NOTES: The support consists of two planks of wood
(poplar). The upper semicircle is a later addition; the original was
probably so badly damaged that it was replaced with this later one.
The painting is mounted in a carved, painted and gilded Neo-Renaissance
frame. Some parts of the frame might be original, others
are later. Both the recto and the verso have a layer of white gesso
ground. The verso is painted grey. The paint layer on the recto is
abraded, with many small retouches all over the surface. The outlines
of the Virgin have been reinforced, but otherwise the figures
are well preserved. There is a thin layer of varnish. Documented
restoration: 1924: Previously repaired damage repaired once again.

PROVENANCE: Bequest of Christina Nilsson, 1924.

BIBLIOGRAPHY: Sirén 1928; Van Marle 1931, 269ff; Degenhardt
1932, pp. 263-300; Sirén 1933, pp. 50–51; Ragghianti 1938, p. 27; Dalli
Regoli 1966, p. 186 (no. 197); NM Cat. 1990, p. 100 (as Lorenzo di
Credi).

The Madonna is seated on a throne with the
Christ Child in her lap, flanked by two standing
angels and with the infant St John kneeling in
front of them. The Christ Child raises his right
hand to bless St John. The throne on which the
Madonna sits is of a typical late quattrocento type,
decorated with plant reliefs, IHS monograms and
an inscription running round the crowning semicircular
arch: “GLORIA IN ECELSIS DEO ET IN E”.
The Madonna wears a purple dress covered by a
blue mantle with a green lining, and the angels
are represented as two mirror-image figures in
light carmine robes. The panel is fitted in a frame,
major parts of which seem to be original.

The painting was incorporated in the collections
of the Nationalmuseum in 1924 under the
will of the famous opera singer Christina Nilsson
de Casa Miranda. An early attribution to Lorenzo
di Credi was questioned by Osvald Sirén,
and rather than referring to the painting as an
authentic work by that artist, he suggested an attribution
to his workshop.¹ Bernhard Degenhart
attributed the panel to Giovanni Antonio Sogliani
(1492–1544),² but was questioned by Carlo
Ludovico Ragghianti who proposed the attribution:
“School of Lorenzo di Credi”.³ The panel is
certainly executed in the manner of Lorenzo di
Credi, and an attribution to his workshop or his
circle is perhaps more appropriate.

The Nationalmuseum Madonna shows clear
influences from Leonardo, notably in the head
and the thin halo of the Madonna and the
natural representation of the folds of her dress.
Lorenzo and his followers kept to the style of
Verrocchio, as in the Madonna di Piazza in the
duomo of Pistoia, which makes the dating
of this kind of panel hard to pinpoint, but a
plausible date for the present painting must be
the 1520s. The prominent role of St John, combined
with the expression of Lorenzo di Credi or
his workshop, indicates Florence as the place of
origin. The inscription IHS may indicate that it
originates from a Franciscan church or convent.⁴
je

1 Sirén 1933, pp. 50–51.
2 Degenhart 1932.
3 Ragghianti 1938, p. 27.
4 This has already been proposed by Dalli Regoli 1966, p. 186. [End]

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Foto: Erik Cornelius / Nationalmuseum 2011

Foto: Erik Cornelius / Nationalmuseum 2009