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This highly detailed triptych A movie consisting of three parts. The term denotes both the object itself and its compositional course. As an object, the triptych may vary in size and material, merely usually consists of a central panel flanked past wings (or shutters), which may be hinged; every bit a compositional form it is a tripartite structure, often with an emphasized central chemical element. Although its imagery was, until the 19th century at least, predominantly religious, the object as such was not tied to a specific function. —Victor M. Schmidt, Grove Art © Oxford University Press by the Sienese painter Andrea di Vanni is a contempo addition to the National Gallery of Fine art collection. One of the most prominent works caused from the Corcoran Gallery of Art, the altarpiece An image-bearing structure set on the rear part of the altar, abutting the back of the altarblock, or set backside the altar in such a way as to be visually joined with the altar when viewed from a distance. It is also sometimes called a retable, following the medieval term retrotabulum. The altarpiece was never officially prescribed past the Church building, but it did perform a prescribed function alternatively carried out by a simple inscription on the altarblock: to declare to which saint or mystery the chantry was dedicated. In fact, the altarpiece did more than than merely place the chantry; its form and content evoked the mystery or personage whose cult was celebrated at the altar. This original and lasting role influenced the many forms taken by the altarpiece throughout its history. —Alexander Nagel, Grove Art © Oxford University Press consists of 3 panels depicting stories from the Passion of Christ. Attached by modern hinges, the 2 lateral panels can be folded over the central painting to protect it and facilitate transportation. When opened, the triptych's panels represent, from left to right, Christ's Agony in the Garden of Gethsemane, the Crucifixion, and theDescent into Limbo. Placed against a gilt basis The layer or layers used to prepare the back up to concord the pigment. , each scene is set on a rocky outcropping that extends from one console to the adjacent, creating a formal coherence among scenes that took place at different times and places.

The altarpiece'southward left wing contains several episodes presented in a continuous narrative. In the centre ground, Christ kneels in prayer in a higher place a well-tended garden on the Mountain of Olives. With his arms folded across his chest in a gesture of humility, he gazes heavenward toward a descending affections who holds out a chalice. The chalice here obviously refers to Christ'due south supplication: "Oh my Male parent, if it is possible, permit this cup pass from me; yet not what I desire but what you want," i.e., his imminent sacrifice upon the cross. [1] [one]
Matthew 26:39. Gertrud Schiller notes that the chalice was an Quondam Testament symbol of divine wrath, simply since information technology is tied to the institution of the Eucharist at the Last Supper it may also be considered the cup of Christ's cede. See Gertrud Schiller, Iconography of Christian Art, trans. Janet Seligman, ii vols. (Greenwich, 1971–1972), ii(1972): 48, 51; as well as Victor Schmidt, unpublished article written for the Corcoran Gallery of Art, September 11, 1995, in the NGA curatorial files.  The anguish weighing upon Christ's countenance is physically manifested by the drops of blood that he sweats in accord with the Gospel account. [two] [2]
Luke 22:44: "In his ache he prayed more earnestly, and his sweat became like corking drops of claret falling downward on the ground."  In the foreground, Jesus is represented a 2d time, admonishing the disciples for sleeping when he had asked them to stay awake and pray with him. His rebuke is a slight one, however, for Christ pulls Saint Peter up from the ground to signify his pick of that apostle to head his church building. In the background, a group of soldiers led by torch-bearers and the traitor Judas Iscariot depart from Jerusalem to arrest Jesus. The villainy of the former apostle Judas is clearly denoted by the black halo surrounding his head.

The central panel, which depicts the Crucifixion, reflects a growing business organisation amidst fourteenth-century artists to historicize the Biblical narrative. To accomplish this, the painter attempted to recreate, with the greatest possible accuracy, the details of the events on Mount Calvary. These details, moreover, are advisedly arranged to enhance the narrative legibility of what would otherwise be a cluttered scene. Already dead upon the cantankerous, Christ is portrayed amongst a large cast of characters and vignettes arranged symmetrically beyond the picture. On either side of Jesus are the two thieves with whom he was crucified. Groups of soldiers dressed in post and Pharisees with long beards crowd effectually these figures to witness their demise. Like Christ, the thief on the left has passed away and his slumped body shares a similar greenish hue. This is the penitent thief mentioned in the Gospel of Luke (23:39–43). Having confessed to Christ as he hung on the cross, the soul of this thief (represented as an baby) is carried to sky by angels. On the right is the unrepentant thief who taunted Jesus. His ruddy flesh tones and pained expression indicate that he continues to suffer the torments of execution. Only now does he receive the coup de grace: the breaking of his legs, which volition hasten his decease and relinquish his soul to the blackness devils that hover above him.

As in all three panels, the painted surface of the Crucifixion scene is exquisitely worked. Each effigy'due south physiognomy and gestures are individualized so that the two soldiers on horseback that frame Jesus, for instance, reply to him in different ways. With his easily clasped in prayer, the figure on the left leans forward as if to see Christ more clearly. His lance identifies him as Longinus, the visually impaired soldier who pierced Jesus'southward side and whose vision, according to one fable, was miraculously restored when the blood and h2o flowing from Christ's wound brutal upon his optics. [3] [3]
Jacobus de Voragine, The Golden Legend, trans. William Granger Ryan, 2 vols. (Princeton, 1993): 1:184.  The other equestrian is the Good Centurion who recognized Christ'south divinity at his crucifixion despite his debased advent, exclaiming: "Truly this homo was the Son of God." [four] [4]
Matthew 27:54; Marking 15:39.  With his hand placed over his eye, this figure's gesture suggests that his belief must come from within. At the foot of the cross, Mary Magdalene caresses Christ's anxiety every bit she grieves, while next to her the immature Saint John weeps visibly every bit he stares adoringly at the Savior. In the left foreground, a group of lamenting women in vibrantly colored mantles surrounds the Virgin Mary, who has collapsed at the sight of her son's lifeless torso. To the right of these women, three soldiers grapple over Christ's blue garment. The Gospel of John states that upon discovering that Jesus's tunic was woven without a seam (and thus expensive), the soldiers decided to choose a new owner according to lot, rather than cut it into shares. [five] [5]
John nineteen:23–24. In his Tractates on the Gospel of John, Saint Augustine interpreted the casting of lots as a positive human activity, for information technology was by fashion of lots, the traditional means by which ane invoked a decision from God, that the seamless garment of Christ remained undivided. Also, it was by the volition of God that the Church remained undivided. Saint Augustine, Tractates on the Gospel of John, trans. John Westward. Rettig, 5 vols. (Washington, DC, 1988–1995), 5:42–43 (tractate 118). The Bible does not reveal the winner of the garment. According to The Gilt Fable, Pontius Pilate gained possession of the seamless tunic and wore it before Tiberius to subdue the Emperor's wrath when the Emperor learned that Pilate had unjustly condemned Jesus. Run across Jacopo de Voragine, The Golden Legend, trans. William Granger Ryan, 2 vols. (Princeton, 1993), 1:212–213. Lynette Muir has noted several Passion plays from Northern Europe that mention Pilate as the winner of Christ's garment. See Lynette Muir, The Biblical Drama of Medieval Europe (Cambridge, 1995), 254 n. 54. The mystery surrounding the outcome of the consequence has led to the discovery of several seamless garments over the centuries. The Holy Robe at the cathedral of Trier in Germany is considered the most authentic; yet, at least v cities merits to possess the original. Encounter Franz Ronig, Trier Cathedral, trans. M. Maxwell, 4th ed. (Trier, 1986), xiv, 26, 29–30, 32; and Friedrich Lauchert, "Holy Glaze," in The Catholic Encyclopedia, 15 vols. (New York, 1907–1913), 7(1910): 400–402.  As was common in Tuscan crucifixion scenes from this time, the soldiers describe straws rather than cast dice. [6] [6]
A few other examples include Andrea da Firenze'southward fresco of the Crucifixion (1365–1367) in the Spanish Chapel at the Florentine church of Santa Maria Novella, the Crucifixion fresco (c. 1340) by "Barna da Siena" in the collegiate church building of San Gimignano, Andrea di Bartolo'southward painting of the Crucifixion (late 14th century) at the Metropolitan Museum of Art, New York, the Crucifixion scene (c. 1390) by Agnolo Gaddi (Florentine, c. 1350 - 1396) at the Galleria degli Uffizi, Florence, and Jacopo di Cione's Crucifixion console (1369–1370) at the National Gallery, London.

Between the Crucifixion and the Resurrection, Christ is said to take descended into the realm of the dead where he liberated the Old Testament patriarchs and prophets. This upshot, known as the Decent into Limbo, is represented on the right wing of the triptych. The story is non recorded in the canonical Gospels, but comes instead from the apocryphal Gospel of Nicodemus, the contents of which were widely disseminated throughout medieval Europe. [7] [7]
Come across George Ferguson, Signs and Symbols in Christian Fine art (New York, 1954), 153–154; and Gertrud Schiller, Ikonographie der christlichen Kunst, 6 vols. (Gütersloh, 1966–1990), 3(1971): 56–66. In Andrea's estimation, Christ the Redeemer has descended victoriously into hell, where he has demolished the gateway and crushed the devil below it, visualizing the words inscribed on the banderole held by God the Male parent, who floats overhead: "Destruxit quidam mortes inferni et subvertit potentias diaboli" (He has destroyed the shades of hell, and has overthrown the powers of the devil). [8] [viii]
Similar the image, the phrase celebrates Christ's triumph, but the particular wording is nearly identical to one of the responses performed during Tenebrae on Holy Saturday: Destruxit quidem claustra inferni et subvertit potentias diaboli (He has destroyed the gates of hell and has overthrown the powers of the devil). Tenebrae (meaning "shadows" or "darkness") is a anniversary performed during the last three days of Holy Calendar week to commemorate the decease of Jesus. The construction of the ceremony is the same on all three days, but on Good Fri the service includes a gradual extinguishing of candles while a series of psalms and readings are chanted. On Sat, the anniversary is conducted entirely in darkness with the exception of a single candle, symbolizing Christ as the Lite of the World. The incorporation of a phrase drawn from the responsorial for one of the most of import commemorative services celebrated during Holy Week could operate every bit an additional means past which the artist sought to bring sacred past into the devotional nowadays for the viewers of his painting. The painting besides reaffirms an article of the Apostles' Creed ("he descended into hell"). Here—at the very edge of the underworld (limbus patrum)—the righteous who lived before Christ kneel in a cavern. Foremost among these figures is Adam, with his long, white beard, followed by Eve, and and then King David (holding a psaltery). On the far right is Saint John the Baptist with his scroll saying "Ecce Agnus [Dei]" (Behold the Lamb of God). Having overcome decease, Christ appears in a transformed state indicated not only past his lustrous mantle and the gilded rays emanating from his body, just also by the reactions of Limbo's inhabitants: several figures shade their eyes from Christ's radiance. With the standard of victory in his left hand, Jesus reaches forrad with his right to grasp hold of Adam in a gesture reminiscent of the one he performs on the triptych's left wing, where he clutches Saint Peter's mitt. [9] [9]
A item noted by Victor M. Schmidt, Painted Piety: Console Paintings for Personal Devotion in Tuscany, 1250–1400 (Florence, 2005), 193. The formal correspondence between these scenes underscores a causal relationship between the ii events, for while Christ submitted himself to God's will in the garden at Gethsemane, the issue of his obedience (i.e., his triumph over expiry) is conveyed in the harrowing of hell. [10] [10]
Cf. Thomas Fletcher Worthen, The Harrowing of Hell in the Art of the Italian Renaissance (PhD diss., University of Iowa, 1981), 387 n. 31. In both scenes, the action of lifting up those overcome by sorrow and regret stresses the charity of Christ.

The sophisticated compositional organization, bright, jewel-like colors, and luxuriously textured patterns of Andrea's paintings exemplify a skillful conflation of elements derived from the previous generation of Sienese painters, speciallySimone Martini (Sienese, active from 1315; died 1344) and the Lorenzetti brothers. The exquisite miniaturist quality of execution and glowing palette recollect the works of Simone, as do some of the figure types Andrea employed in the Crucifixion scene. The recumbent grade of the Virgin Mary and her attendants, for case, are comparable to those in the Crucifixion panel [fig. ane] [fig. ane] Simone Martini, Crucifixion (from the Orsini Polyptych), c. 1335, tempera on panel, Purple Museum of Fine Arts, Antwerp  of Simone's Orsini Polyptych in the Imperial Museum of Fine Arts, Antwerp, as is the figure of Andrea's Christ, whose proportions and knobby knees too appear dependent on the prototype. Despite that, the heavy, robust forms and simplified contours of Andrea's other figures marking a divergence from the fine art of Simone and reveal the bear upon of the Lorenzetti. The voluminous mantle and lost profile of the Magdalene, for example, resemble the same effigy inPietro Lorenzetti'south smallCrucifixion [fig. ii] [fig. 2] Pietro Lorenzetti, Crucifixion, c. 1325–1326, tempera on panel, Pinacoteca Nazionale, Siena at the Pinacoteca Nazionale in Siena (inv. no. 147), as does the pose of Saint John the Evangelist. Besides reminiscent of Pietro's fine art is Andrea'due south inclusion of provocative anecdotal details, dynamic utilise of space, and structure of depth. Despite the flattening effect of the gilded background, Andrea succeeded in creating a disarming spatial setting defined by the overlapping of figures and rocky mural that non only diminish in scale but also darken as they recede. [11] [11]
This technique was recommended by Cennino Cennini and frequently practiced by Trecento painters. Encounter Cennino Cennini, Il libro dell'arte, ed. Fabio Frezzato (Vicenza, 2003), chap. LXXXV, 127; and Miklós Boskovits in this itemize, entry for Jacopo di Cione's Madonna and Kid with God the Father Blessing and Angels , note 23. The consequence is a narrative vivacity combined with an intimate expressive force.

The putative Neapolitan provenance of the Gallery'south triptych has led several scholars to propose that information technology was producedin situ while the artist was acting equally an emissary to the city. [12] [12]
According to David Alan Dark-brown, a note in the Fototeca Berenson at the Villa I Tatti, Florence, records that the pictures belonged to Count Carlo Zezza, who obtained it from wife, a fellow member of the Naples branch of the Medici family. However, the Zezza provenance is not confirmed. Run into David Alan Dark-brown, "Andrea Vanni in the Corcoran Gallery," in The William A. Corcoran Drove: An Exhibition Mark the 50th Anniversary of the Installation of the Clark Drove at the Corcoran Gallery of Art (Washington, DC, 1978), 36. As explained in his biography, Andrea undertook lengthy diplomatic missions to Avignon, Rome, and elsewhere on behalf of the Republic of Siena, and he is documented in Naples between 1383 and 1385. [13] [thirteen]
Come across Gaetano Milanesi, Documenti per la storia dell'arte senese, 3 vols. (Siena, 1854–1856), one(1854): 295–302; and Scipione Borghesi and Luciano Banchi, Nuovi documenti per la storia dell'arte senese (Siena, 1898), 54–55. It is to this period that scholars routinely assign the triptych. [14] [14]
A notable exception is Valerie Linda Wainwright, who dates the triptych to c. 1360–1370. See Valerie Linda Wainwright, Andrea Vanni and Bartolo di Fredi: Sienese Painters in Their Social Context (PhD diss., University of London, University Higher, 1978), 156. And nevertheless, Andrea is believed to have traveled to Naples on other occasions and information technology is just as plausible that he completed the altarpiece during one or several undocumented visits. [15] [15]
Cf. Andrea Costa, Rammemorazione istorica dell'effigie di Santa Maria di Casaluce (Naples, 1709), 172; Ferdinando Bologna, I pittori alla corte angioina di Napoli, 1266–1414, e united nations riesame dell'arte nell'età fridericiana (Rome, 1969), 325–326; and Enzo Carli, La pittura senese del Trecento (Milan, 1981), 246. Alternatively, he could have produced the work in Siena and exported information technology to a distant patron. For these reasons, a definitive date of execution and place of origin for the altarpiece take yet to be determined.

Every bit problematic for the study of the panels is the question of whether they were originally intended to form a portable altarpiece or if they were once office of a larger, stationary polyptych Type of object with several panels, usually an altarpiece, although information technology may also fulfil other functions. The polyptych normally consists of a primal panel with an even number of side-panels, which are sometimes hinged to fold. Although in principle every object with 2 panels or more may be chosen a polyptych, the word is normally used as a general term for anything larger than a triptych. Every bit with diptychs and triptychs, the size and material can vary. —Victor M. Schmidt, Grove Art © Oxford University Printing . The panels clearly belong together, merely technical assay has revealed alien bear witness, suggesting that they may non have always been arranged in the nowadays configuration. The about perplexing incongruity concerns the presence of four big dowel holes along the lateral edges of the central panel as well equally a punched decorative design on its contrary, now hidden beneath a layer of gesso A mixture of finely ground plaster and glue applied to wood panels to create a polish painting surface. —Grove Art © Oxford University Press . Neither of the side panels contains traces of respective joinery and no punchwork has been detected on their backs. These observations present more than problems than solutions, for the prove of dowel joints in the central panel indicates that at one time this painting might have been immovably attached to adjacent panels or a larger framing structure. However, it is entirely possible that theCrucifixion was painted on a reused plank that had been prepared for another commission or that the side panels were originally wider and included portions containing dowel joints that were after cut off. [16] [16]
Unlike the lateral panels, the central panel likewise has a slight concave warp which is unusual. As Joanna Dunn has observed, if the panel was repurposed, its former arrangment and function could have induced the warping every bit well every bit account for the punchwork on its reverse. See Dunn's examination report dated December 21, 2015 in the NGA conservation files, where she also mentions the possibility of each side panel originally including ii scenes of equal width. The spacing of the dowel holes is besides unusual, as they are non located at equal distances from the top and lesser edges of the panel, as one would await. In fact, the close proximity of the upper dowel holes to the top of the panel implies that the painting originally may have been taller and included an upper register. [17] [17]
Joanna Dunn, examination report dated Dec 21, 2015, in the NGA conservation files. This could strengthen the idea that the key panel was originally role of a dissimilar altarpiece configuration and was repurposed for this triptych. Autonomously from the modern hinges, all three panels reveal boosted indications of what might exist traces of an earlier ways of attachment, but information technology remains to be determined whether they are in fact vestiges of a previous joining machinery. [18] [18]
Joanna Dunn, examination report dated Dec 21, 2015, in the NGA conservation files.

If the panels contributed to a stationary polyptych, and so their rectangular shape suggests that they were located along the ensemble's lower register and presumably with other, as of withal unidentified, paintings of Christ'southward Passion. The strongest evidence against this scenario lies in the presence of ornament on the back of the central console. In the later fourteenth century, most big, double-sided altarpieces consisted of split up panels for the front and back. [xix] [19]
See Julian Gardner, "Fronts and Backs: Setting and Structure," in La pittura nel XIV due east 15 secolo, il contributo dell'analisi tecnica alla storia dell'arte, eds. Hendrik W. van Os and J. R. J. van Asperen de Boer (Bologna, 1983), 297–322. If Andrea's paintings were components of such an altarpiece, they would have been installed into a larger, thicker framework that would take concealed their reverses. It seems more probable that the paintings contributed to an altarpiece of modest dimensions intended for a side altar or domestic setting in which the ornamentation on the central panel's reverse could be admired. The precise size of this hypothetical altarpiece and the ways by which its panels were attached remain open up questions.

Amongst the various works attributed to Vanni or his followers, Bernard Berenson (June 26, 1865–Oct vi, 1959) Art historian and connoisseur. Son of a Lithuanian timber merchant who emigrated to the United States with his family in 1875, he was educated at the Latin Schoolhouse, Boston, and at Harvard Academy, where he studied Greek, Latin, Sanskrit, Hebrew, and German. In an unsuccessful application for a traveling fellowship to Europe, he wrote, 'Art prevails in this plan because it is at that place that I feel myself weakest. Ane can written report literature hither . . . but art not at all.' On his subsequent visit to Europe in 1885, financed by friends, his rapid visual cocky-education led to the decision to settle in Italy and to devote his life to the study of Italian art. —William Mostyn-Owen, Grove Art © Oxford Academy Press associated the Gallery's triptych with 2 small panels: theResurrection, formerly in the Ingenheim Collection, and theAscension in the Land Hermitage Museum at St. Petersburg [fig. iii] [fig. 3] Andrea di Vanni, Ascension, c. 1380s, tempera on panel, The Country Hermitage Museum, St. Petersburg, Gift of the heirs of Count Thou. Due south. Stroganov, 1911 [fig. 4] [fig. iv] Andrea di Vanni, Resurrection, c. 1380s, tempera on console, location unknown, formerly in the Ingenheim collection . [20] [20]
Bernard Berenson, Italian Pictures of the Renaissance: Cardinal Italian and North Italian Schools, 3 vols. (London, 1968), ane:442. The current location of the Resurrection is unknown. It was sold on July 22, 1981 at the Neumeister, Münchener Kunstauktionhaus, sale 203, lot 749. Other scholars who aspect the Resurrection to Andrea di Vanni include Federico Zeri, "Appunti nell'Ermitage due east nel Museo Pusckin," Bollettino d'arte 46, no. 3 (1961): repro. 221, 225; Ferdinando Bologna, I pittori alla corte angioina di Napoli, 1266–1414, e un riesame dell'arte nell'età fridericiana (Rome, 1969), 325–326; and David Alan Brown, "Andrea Vanni in the Corcoran Gallery," in The William A. Corcoran Collection: An Exhibition Marker the 50th Anniversary of the Installation of the Clark Collection at the Corcoran Gallery of Art (Washington, DC, 1978), 34. The Ascension one time belonged to Count Gregory Stroganoff in Rome and has been variously attributed to Andrea, to 1 of his followers, and to Bartolo di Fredi. Cf. Antonio Muñoz, Pièces de choix de la collection du Comte Grégoire Stroganoff à Rome, 2 vols. (Rome, 1912), ii: 11; Raimond van Marle, The Development of the Italian Schools of Painting, vol. 2, The Sienese Schoolhouse of the 14th Century (The Hague, 1924), 504–505 northward. one; Bernard Berenson, "Quadri senza casa. Il Trecento senese, 1," Dedalo eleven (1930–1931): 274; Millard Meiss, Painting in Florence and Siena Later the Black Death (Princeton, 1951), 31; Viktor Nikitič Lazarev, Proischoždenie italʹjanskogo vozroždenija, vol. 2, Iskusstvo trečento (Moscow, 1959), 289–290, northward. 283; Zeri (1961): repro. 221, 223–226; and Svetlana Vsevolozhskaya and Albert Kostenevich, The Hermitage: Italian Paintings (Leningrad, 1984), 227. As Federico Zeri showtime noted, the two panels share similar dimensions, ornamental motifs, and biconvex formats. [21] [21]
Federico Zeri, "Appunti nell'Ermitage e nel Museo Pusckin," Bollettino d'arte 46, no. 3 (1961): 223–226. It is safe to assume that they were components of the same altarpiece, but one unrelated to the Gallery'southward triptych. Close scrutiny has revealed that the tooled and punched designs of the halos as well as the raised gesso orpastiglia ornaments in the pointed arches and cusping of the ex-Ingenheim and Hermitage paintings are markedly dissimilar from those found in the spandrels of the Gallery'south panels. These discrepancies militate against correlating the triptych with theResurrection andAscension. [22] [22]
Laurence Kanter has suggested that the ex-Ingenheim and Hermitage panels are from an entirely dissimilar flow in the artist's career. Communicated in an email dated October 21, 2015, in the NGA curatorial files.

Since information technology was start published, the triptych has been considered the artist's only remaining signed work. [23] [23]
F. Mason Perkins, "A Triptych by Andrea Vanni," Fine art in America nine (1921): 186. Inscribed freehand on the bottom edge of key panel's engaged frame is "ANDREAS VANNIS DE SENIS ME PINXIT" (Andrea Vanni of Siena painted me). Several of the messages have been repaired with new gilding and the blue paint has been reinforced at to the lowest degree twice, but the signature appears legitimate. Even so, the inscription once may have contained other data for the decorative blueprint that brackets the signature has been reworked and the location of the inscription appears incomparably off-heart. Moreover, a meaning infinite to the right of "PINXIT" is filled with an unusual motif that occurs nowhere else on the frame. Given the consistency of the frame's ornamentation, one tin can simply speculate why this highly abstracted motif was incorporated, but it may supplant letters that had become illegible. The space is not large enough to have recorded the date of execution, but information technology may have independent a modifier such as the supplication "AMENA," which concludes the inscription adorning the polygonal base ofLippo Memmi'sMadonna dei Raccomandati at Orvieto Cathedral. [24] [24]
For the inscription on Lippo's painting see Michael Mallory, "Thoughts Apropos the Master of the Glorification of St. Thomas," The Art Bulletin 57 (1975): 17 n. 26; and Bonnie Apgar Bennett, Lippo Memmi, Simone Martini'southward "fratello in arte": The Paradigm Revealed by His Documented Works (PhD diss., University of Pittsburgh, 1977), 17, 105–107, 124 north. 21.

What is beyond speculation is the supremely high quality of the triptych. The deep, saturated hues of cherry, yellow, and blue create rhythmic alternations of color that play confronting the gold backgrounds and halos to animate the scenes. Such dazzling effects are carried over into the patterns decorating the soldiers' armor and the mantle of the Pharisee in the Crucifixion scene, equally well as Christ's garment in the Descent into Limbo, which are executed in sgraffito, a technique that mimics the furnishings of brocade by scraping abroad areas of paint laid over gold leaf and tooled with patterned punches. The elaborate costumes bring together the carefully diversified facial features and body movements to communicate the narrative in a concise but vivid manner. Andrea di Vanni is frequently regarded as lacking the skill and sophistication of his great predecessors, but the refined execution, counterbalanced arrangement of complex iconographic elements, and compelling depiction of human emotion that characterize the Gallery's triptych should prompt a revision of his stature.

Jason Di Resta

March 21, 2016

Source: https://www.nga.gov/collection/art-object-page.206072.html

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