Art Eyewitness Essay: Morgan Library & Museum Centennial Tribute

  

     

 Art Eyewitness Essay:
Morgan Library and Museum Centennial Tribute

By Ed Voves

Original Photography by Anne Lloyd and Ed Voves

"Life is a spell so exquisite,” Emily Dickinson wrote, “that everything conspires to break it.”

If Dickinson’s hometown of Amherst, Massachusetts, was hostile to enchantment, how much so is the “24/7” tidal wave of distractions which daily engulfs our lives? Wherever one lives in our harried, mind-fatigued world, the “spell” of a meaningful life is difficult to cultivate.

Yet, it is possible to find places of refuge – mental, emotional, life-affirming. Occasionally, these sanctuaries of sanity may be found in the middle of the maelstrom. 225 Madison Avenue at 36^th street in New York City is one such location:

The Morgan Library & Museum.

Brett Beyer (Photo 2022)

 J.P Morgan’s Library & Garden, looking west toward the Annex

The Morgan, if I may, is celebrating its centennial year as a public institution. But the Morgan Library and Museum’s pre-history, spanning two decades before its incorporation in 1924, is of crucial importance in understanding the Morgan’s mission as a premier American venue of culture.

The Morgan was designed as a private library by the celebrated architect, Charles McKim, and built between 1902 and 1906. Set amid brownstone townhouses in the Murray Hill neighborhood of New York, the Morgan Library was constructed of Tennessee marble. From its inception, the Morgan was intended to be exceptional.

At McKim’s behest, the emplacement of the marble exterior stonework was done without the use of mortar. This exacting procedure would make the Morgan “the only building ever built in modern times as the ancients built and will require, as was required of them, the utmost accuracy and nicety known in mechanics.”

 

  J. P. Morgan’a Library & Garden with sculptures of lionesses by Edward Clark Potter (photo by Henry Wysham Lanier),1906. Brett Beyer (2022) Entrance to J. P. Morgan’a Library, evening view

McKim modeled the entrance area of the Morgan after the Villa Medici, a Renaissance palazzo from the 1500’s. As the patron of McKim’s masterpiece was an American “Medici”, the building was designed to match the man.

J. Pierpont Morgan (1837-1913) was a hugely controversial figure of his time – and since. He was praised by some and vilified by others for his financial transactions. The prompt action he took in 1893 – and later in 1907 - to prevent a bank panic from spiraling into a nation-wide depression was both public-spirited and sound business practice.

Hayman Selig Mendelssohn, J. Pierpont Morgan, c. 1890

The private library which McKim built for Morgan, adjacent to his family residence, was to be Morgan’s refuge from the harsh world of Gilded Age finance. An avid reader since childhood, Morgan could retreat into the spell of an “exquisite life.” His version of Dickinson’s dream state was a place of eternal verities and timeless ideals, in a setting of commensurate grandeur.

Ed Voves (Photos 2023) Gallery views of Pierpont Morgan's Library

One commentator, upon being given a tour of the completed Morgan Library in 1907, described it as “the bookman’s paradise.”

 

Ed Voves (Photo 2023)

 Gallery view of the Rotunda of the Morgan Library and Museum

Morgan was indeed a “bookman.” He treasured the manuscript of a Sir Walter Scott novel which his father, a collector of autographs, had purchased. When the senior Morgan died in 1890, Pierpont (as he was known in his family) followed his father’s lead as a collector. But he did not limit himself to individual volumes and manuscripts. Morgan began to purchase entire collections, sometimes numbering a hundred or more volumes at a time.

 

Udo J. Keppler, The Magnet, 1911. Published in Puck Magazine

Masterpieces of ancient and medieval art complemented these book acquisitions. European connoisseurs were enraged to see treasures like the Lindau Gospels lost to Morgan’s clutches. Such was the power of the “almighty dollar” and the astute advice of his bibliophile nephew, Junius, that Morgan was an unstoppable force.

Ed Voves (Photo 2023)  

The Lindau Gospels, c. 880, manuscript from St. Gall, Switzerland

To a significant degree, Morgan's book collecting was motivated by his religious faith. This led him to buy rare and historic bibles like the famed Gutenberg Bible (the Morgan now has three copies) and Coptic biblical codices, inscribed by hand in Egypt during the early Middle Ages. The fascinating interaction of worshiping God and obsession with books was documented in the exhibition, Morgan's Bibles: Splendor in Scripture (October 2023-January 2024).

Ed Voves (Photos 2023) Johan Gutenberg’s Biblia Latina, c. 1455 (top photo); Samuel 1 & 2 in Coptic, before 893. From Egypt, Al-Fayyum 

Closer to home, Morgan made his earliest headline-grabbing purchase in 1879. Dubbed the "Thousand-Dollar Bible" by the New York Times, this was the first bible printed in America, dating  to 1663. John Eliot's translation of the Old and New Testament into the language of Algonquian Native American people was also featured in Morgan's Bibles.

J.P. Morgan died on March 31, 1913 in Rome. With his passing, care for the “bookman’s paradise” entered into the capable hands of J.P. (Jack) Morgan Jr. and the now legendary librarian, Belle da Costa Greene (1883-1950). Greene was an African-American woman who "passed" as a person of Portuguese descent. Greene's sharp eye at detecting fakes and forgeries was invaluable in maintaining the integrity of the Morgan's collection.

Ed Voves (Photo 2023)  

Gallery view of the Morgan Library, East Room, showing terracotta bust of Belle da Costa Greene, by Jo Davidson

To round off its centennial celebrations, the Morgan has just opened an exhibition devoted to Belle Greene. Many of the outstanding manuscripts and books purchased on the advice of Greene are on display. Art Eyewitness will review Belle da Costa Greene: A Librarian's Legacy in a future post.

In 1924, Jack Morgan decided to recast the Morgan as a public research institution, eventually as a museum as well. In this essay, we shall focus on the Morgan as a museum.

The Morgan is a unique institution, functioning – quite successfully - for many years without large galleries for long-term display of its collection. Approximately 7,000 works of art were donated to the Metropolitan Museum of Art, of which Morgan was president at the time of his death. These included masterpiece paintings like Raphael's Colonna Alterpiece.

Morgan's vast collection of "works on paper"  - medieval manuscripts, Rembrandt etchings and original musical scores such as Beethoven''s Violin and Piano Sonata, op. 96 in G major -  were retained under the careful guardianship of Belle Greene. 

William Blake, America, a Prophecy, 1793-95

Incredibly, works by William Blake, with their prophetic religious visions and radical political views, also remained in the Morgan collection. One would never have assumed that a "robber baron" like J.P. Morgan would have held Blake in esteem, yet apparently he did.

Today, most of the Morgan's 350,000 collection items remain in storage for significant periods. This is due to conservation requirements, as well as space restrictions. To deal with the latter concern, major renovations of the Morgan campus in 1991 and 2006 added additional room,. Especially worthy of note is a more spacious second floor display area, the Englehard Gallery. 

Ed Voves (Photo 2023)  

 The Englehard Gallery, during the Medieval Money exhibit 

However, the Morgan curators must still make optimum use of small spaces by comparison with the cavernous galleries of the Metropolitan Museum of Art.

Anne Lloyd (Photo 2017)

 Exhibition banners, Summer 2017, at the Morgan Library & Museum

Special exhibitions and rotating “treasures from the vault" are key to the Morgan’s presentation of its vast and varied collections. Generous loans from major museums from around the world are also a major feature of the Morgan’s mission of addressing epic themes in art, music and literature.

The opulent decor of “Mr. Morgan’s Library” never changes. Everything else is in a state of creative flux. As a result, the Morgan's revolving exhibition schedule enables us to step-out of the pressures and frustrations of “this moment” into realms of the imagination, past, present and future.

                  

Anne Lloyd (Photo 2024) 

 The Beatrix Potter: Drawn to Nature Exhibition,

 with display of illustrated letters to Noel Moore, 1890's  

               

Many of the Morgan exhibitions are immensely enjoyable. The 2012 Charles Dickens tribute, 2019’s Drawing the Curtain: Maurice Sendak’s Design for Opera and Ballet and this year’s Beatrix Potter: Drawn from Nature occupy an especially memorable place in my regard for the Morgan.

The wonderful exhibitions at the Morgan, superb articulations of word and image, have all left their mark on me. To conclude this tribute, I will focus on a sequence of three exhibitions from 2016-2017 and an earlier one, which was mounted in 1971.

This 70's exhibition occurred before I began visiting the Morgan. But judging from its impact, the display of photos of Native Americans taken by Edward S. Curtis from the 1890’s to 1930 was a landmark event in American museum history – and America’s cultural history, writ large.

Edward S. Curtis, Self-Portrait, 1905

In 1906, Edward Curtis (1868-1952), a self-taught photographer based in Seattle, Washington, approached J.P. Morgan for financial support to enable him to document the endangered culture of the North American Indians. Construction of “Mr. Morgan’s Library” was in its final stages and Morgan gave Curtis the brush-off. Or tried to.

Curtis would not take no for an answer. He thrust several or his portraits of Native-American people from the south-west territories into Morgan’s hands. The aging titan of Wall Street was intrigued. 

Edward S. Curtis, Native American Portraits from lantern slides: Unidentified girl (A:shiwi/Zuni), at left, c. 1903;

 Luzi (Tohono O’odham/Papago), c. 1906 

Curtis received a generous, if not lavish, stipend, paid in installments. Morgan provided $15,000 per year for five years, to be spent on field work, but not publication costs.The funding from Morgan enabled Curtis to continue with his ever-expanding project - photographs for his multi-volume book, The North American Indian, ethnographic study of social customs and religious practices and production of sound and motion picture recordings. It was a stupendous achievement.  

Edward Curtis had, at great personal cost, saved America’s Native American heritage. But, by the time he finished his epic task, the  U.S. was in the grip of the Great Depression. Few of the expensive book sets were sold. Curtis died in obscurity in 1952.

Edward S. Curtis, The Courier (Apache), c. 1906. Lantern slide

Carefully stored in the Morgan’s vault were over 400 lantern slides of Curtis photos which had been used by the intrepid photographer in his public-speaking tours. Many had been hand-tinted to heighten their visual appeal to the public. The lantern slides formed the core of the sensational 1971 exhibition at the Morgan which revived Curtis' reputation and heightened awareness of the rich heritage of the Native American peoples Curtis had  immortalized.

The  Curtis/Morgan saga is surely one of the most dramatic and influential episodes involving a museum in American history. That being said, I would contend that three exhibitions, presented by the Morgan during 2016-2017, should be considered as a benchmark achievement in curatorial excellence. 

Over the twelve-month course of a single year, the Morgan mounted back-to-back-to-back exhibitions surveying the lives and times of three giants of mid-19th century literature: 

·      Charlotte Brontë: An Independent Will (September 2016–January 2017)

·      I’m Nobody! Who are you? Life & Poetry of Emily Dickinson (Jan- May 2017)

·      This Ever New Self: Thoreau and His Journal (June–September 2017)

Art Eyewitness Image 

From left- Charlotte Brontë, Emily Dickinson & Henry David Thoreau

The Morgan exhibitions generated an extraordinary confluence of genius, as if these three very different writers had joined forces, each using their own singular talent to address the issues of their day and the challenges facing human beings in every era.

In preparing these exhibitions, the Morgan curators searched through the Morgan's considerable holdings of material related to Charlotte Brontë, Emily Dickinson and Henry David Thoreau and augmented these with loan items from all over the world. 

Anne Lloyd (Photo 2016)

 Charlotte Brontë’s portable writing desk

For Brontë, and Thoreau, the results of this research were dazzling. Charlotte Brontë's portable writing desk, a dress she wore on a visit to London where she met William Makepeace Thackeray, tiny hand-written story books made for her youngest sister, Anne, and much more testified to the almost religious devotion which the author of Jane Eyre has inspired.

The Thoreau exhibition was almost as well-endowed with pictures, letters and memorabilia related to this Yankee philosopher. Even the lock on the Middlesex County Jail, where Thoreau spent a night-time of protest against the Mexican War, was on view.

Anne Lloyd (Photo 2017)

 Steel lock & key from Middlesex County Jail

As befits a reclusive individual, the Emily Dickinson exhibition was a more difficult proposition. The Morgan exhibition, I'm Nobody! Who are You? took an interesting route to gain insight into the source of Dickinson's creativity. The curators recreated the safe, cozy gentility of Dickinson's childhood. By taking this approach, the astonishing, unpredictable length to which her poetic vision carried Dickinson was underscored.

There is no calculus for determining genius. No secret formula will ever be be found in the arcane tomes of the alchemists. At some point, each creative person sits down before a sheaf of paper, a blank canvas, a smooth, untouched piece of marble. What happens next is inspiration, also impossible to define but an established fact. 

Ed Voves (Photo 2023) Gallery view of the Morgan's Bibles exhibition

 For one hundred years, the Morgan Library and Museum has been providing creative people with the means to be inspired and inspiring others to be creative. From a rich man's palazzo to a palace of enlightenment and enjoyment for all, the Morgan has truly become a place for inspiration.

One hundred years of inspiration at the Morgan! As the calendar page is flipped, a new century of inspiration begins.

***

Text: Copyright of Ed Voves, all rights reserved                                                

Original photography, copyright of Anne Lloyd and Ed Voves

 Introductory Image:                                                                           

Anne Lloyd, Photo (2024)  The logo of the Morgan Library and Museum.

Brett Beyer (Photo 2022) J. Pierpont Morgan’a Library and Garden, view looking west toward the Annex. Courtesy of the Morgan Library and Museum, N.Y. Copyright Brett Beyer, 2022

J. Pierpont Morgan’a Library and Garden with sculptures of lionesses by Edward Clark Potter (photo by Henry Wysham Lanier), 1906 Gelatin silver print Morgan Library archives 

Brett Beyer (Photo 2022) Original entrance to J. Pierpont Morgan’a Library, evening view. Courtesy of the Morgan Library and Museum, N.Y. copyright Brett Beyer, 2022

Hayman Selig Mendelssohn (1848-1908) J. Pierpont Morgan, c. 1890. Photograph, Albumen Albumen print. Morgan Library archives

Ed Voves (Photo 2023) Gallery views of Pierpont Morgan's Library

Ed Voves (Photo 2023) Gallery view of the Rotunda of the Morgan Library and Museum

Udo J. Keppler (1872-1956) The Magnet, 1911. Published by Keppler & Swarzmann in Puck Magazine, Vol. 60, #1790. Library of Congress, Prints and Photographs Divison #2011649038

Ed Voves (Photo 2023) The Lindau Gospels, c. 880 (manuscript, from St. Gall in Switzerland) Front cover, France, c. 870; back cover, Salzburg, c. 780-800. Morgan Library and Museum.

Ed Voves (Photo 2023)  John Gutenberg’s Biblia Latina, c. 1455. Morgan Library and Museum.

Ed Voves (Photo 2023)  Samuel 1 and 2 in Coptic, before 893. Transcribed in Egypt, Al-Fayyum region. Morgan Library and Museum.

Ed Voves (Photo 2023) Gallery view of Pierpont Morgan's Library, East Room, showing terracotta bust of Belle da Costa Greene, by Jo Davidson. 

William Blake (1757-1827) America, a Prophecy, 1793-95. 18 plates (in 2 vplumes): illustrated; 53 cm. Morgan Library and Museum, purchased in 1909.

Ed Voves (Photo 2023) View of the Englehard Gallery during the Medieval Money, Merchants and Morality exhibition.

Anne Lloyd (Photo 2017) Exhibition banners, Summer 2017, at the Morgan Library and Museum.

Anne Lloyd (Photo 2024) View of the Beatrix Potter: Drawn to Nature Exhibition, with display of letters to Noel Moore, 1890’s

Edward S. Curtis (1868-1952) Self-Portrait, 1905. Photogravure: 18.5 x 12 cm. (7 5/16 x 4 ¾ in.) National Portrait Gallery, Washington D.C.

Edward S. Curtis  Native American Portraits from lantern slides: An unidentified girl (A:shiwi/Zuni), c. 1903;  Luzi (Tohono O’odham/Papago), c. 1906. Morgan Library and Museum.

Edward S. Curtis  The Courier (Apache), c. 1906. Lantern slide: photograph on glass, hand colored; 3 ¼ x 4 inches. Morgan Library and Museum.

Art Eyewitness Image. Photo Montage of Portraits of Charlotte Bronte, Emily Dickinson and Henry David Thoreau.

Anne Lloyd (Photo 2016) Charlotte Brontë’s portable writing desk, with contents including pen nibs, ink bottle, and other tools, Parsonage Museum, Haworth, UK

Anne Lloyd (Photo 2017) Steel lock and key from Middlesex County jail, ca. 1788 Concord Museum, gift of Cummings E. Davis, 1886; M2081

Ed Voves (Photo 2023) Gallery view of the Morgan's Bibles exhibition

 

 

Art Eyewitness Review: Siena: the Rise of Painting, 1300-1350 at the Metropolitan Museum of Art

 Siena: the Rise of Painting, 1300-1350 

 

Metropolitan Museum of Art

 October 13, 2024 to January 26, 2025

Reviewed by Ed Voves

Visitors to the Metropolitan Museum of Art may be surprised to learn the identity of the most expensive art work ever purchased by The Met. It was not a landscape by Van Gogh or – as I thought - the portrait of Juan de Pareja by Velasquez.

Back in 2004, The Met paid $45 million for a painting “no bigger than a sheet of typing paper.” That was how, in the lead paragraph of its article, the New York Times reported the purchase of a late-medieval Madonna and Child created in the Italian city-state of Siena,.

The Times’ description of Madonna and Child was a case of being accurate to a fault. Yes, the painting is modest in its measurements, but masterpieces are not determined by size. Moreover, the Met’s acquisition was a work by one of the great innovators of art history, Duccio di Buoninsegna.

                                          

Ed Voves, Photo (2024) 

Duccio's Madonna and Child, 1290-1300

                                                                                     

Twenty years later, Duccio's Madonna and Child is a “keystone” work in a brilliant exhibition at The Met, Siena: the Rise of Painting, 1300-1350. Over a hundred works of art are on view, opening the gates - and our eyes - to the paradise-like realm that was the Bel Commune or Republic of Siena located in Tuscany.

Of these exhibited works, an astonishing number were created by Duccio or the handful of other Sienese masters who made the first half of the 1300's, Siena's golden age. Others, by little known or mysterious, yet to be identified,  artists testify to the influence of Duccio or of Pietro Lorenzetti on the art and culture of their times.

   Ed Voves, Photo (2024) 

Goro di Gregorio's sculpture of the Enthroned Virgin

An especially notable member of the supporting cast of Siena: the Rise of Painting is Enthroned Virgin by Goro di Gregorio. The curators believe that this rare work of art - the only surviving terracotta sculpture from Italy during the early 1300's - was created as a working model for a goldsmith's commission to make an altapiece.

This is very likely to be the correct explanation of the Enthroned Virgin's function. Goro di Gregorio was both an accomplished goldsmith as well as the leading sculptor of Siena during this era.

Yet, it should be noted that the basic pose of Enthroned Virgin closely follows that of The Met's Madonna and Child. It lacks the figure of the Christ Child, an important detail for a  finished devotional statue. But the right hand of the Virgin is missing and the left badly damaged. Might a separate Christ Child have been modeled and kiln-fired to be placed in the Virgin Mary's now missing hands? If so, this beautiful statue may well be a three-dimensional version of The Met's $45 million "typing paper" masterpiece.

Siena: the Rise of Painting, 1300-1350 is a joint endeavor of The Met with the National Gallery in London. The curators of the exhibition - Joanna Cannon, Caroline Campbell, Stephen Wolohojian, Imogen Tedbury and Laura Llewellyn - have combined their efforts to assemble an array of top-tier works of religious art from the fourteenth century, the trecento as it is called in Italy.

Ed Voves, Photo (2024)

Duccio di Buoninsegna’s The Virgin & Child with Saints Dominic & Aurea

Here, the use of the term “iconic” is accurate.        

                                                                                                                                                                                                                                         

        Ed Voves, Photo (2024) 

Gallery view of Siena: the Rise of Painting,

    The Chalice of Peter of Sassoferrato in the foreground       

The galleries of Siena: the Rise of Painting are so richly endowed with masterpieces that Duccio’s “small wonder” almost gets lost in their company. 

Almost. 

Duccio, along with his younger contemporary from Florence, Giotto di Bondone (c.1267-1337), was the founder of Western painting as it has developed since the Middle Ages. This was the moment of the rise of painting – characterized by professional artists whose works were signed or otherwise documented - alluded to in the exhibition title.

This pivotal moment in the story of human creativity is immortalized by the proud inscription on one of the exhibition's truly "signature" works:

"Petrus pictor, quondam Lorenzetti qui fuit de Senis” (“The painter Pietro del fu Lorenzetti who was from Siena”)

There are no paintings by Giotto in the Met’s exhibition. But direct comparison of the works of Duccio and Giotto is possible. The Met is one of the select group of U.S. museums with at least one painting by each of these masters in its collection.

 On view in Gallery 601 at the Met is Giotto's The Adoration of the Magi, painted around 1320. It is a small masterpiece, too, but in theme and style it is very much in the spirit of Giotto's famous narrative scenes in the Scrovegni Chapel in Padua.

     Ed Voves, Photo (2024) Giotto's Adoration of the Magi at The Met        

Giorgio Vasari, writing in the late 1500’s, gave the lion’s share of credit to Giotto for pioneering “the great art of painting as we know it today …” 

Many modern historians, while acknowledging that Vasari was biased in favor of fellow artists from Florence, have followed his lead. Works by artists from Sienalike Simone Martini's Virgin and Child with Four Saints and a Dominican Nun are held to illustrate the prevailing "medievalism" of Siena in contrast to the bold explorations of pictrial space by their rivals in Florence.

Ed Voves, Photo (2024) 

Simone Martini's Virgin and Child with Four Saints & a Dominican Nun

A pilgrimage to The Met’s Gallery 999, where Siena: the Rise of Painting is on view, hopefully will lead many art lovers to take a second look at Siena's role in the “rise of painting.” Wisely, the exhibition curators do not belabor the issue of Siena vs. Florence. There were multiple paths to the Renaissance and the road leading from Siena was an important one indeed.

If Duccio led the way, other Sienese artists of genius followed in quick succession. Siena: the Rise of Painting focuses on four major artists who formed a dynasty of achievement which would not be equaled until a century later in Florence during the era of Donatello. 

Ed Voves, Photos (2024)

 A collage of paintings from Siena,(clockwise from top left)

 Duccio, Simone Martini, Ambrogio Lorenzetti, Pietro Lorenzetti

The Siena quartet - Duccio, Simone Martini, Pietro Lorenzetti and his brother, Ambrogio Lorenzetti - contributed strokes of technical mastery to the development of painting that established its primacy in the Western canon of art.

The Met exhibition reveals contributions by Siena's "big four" to innovations usually credited to Florence in the 1400's: fresco painting and one point (or vanishing point) perspective.

Among the rarest works on view in Siena: the Rise of Painting are two sinopia designs for fresco paintings of the Annunciation. These, dating to the mid-1330's, were created by Ambrogio Lorenzetti (active 1319–47). 

Sinopia was the red-brown highlight color brushed on to the wet plaster base to delineate the underlying composition of the picture. This would then be painted with colored pigments before the plaster could harden. Ambrogio's designs were over-painted later by a less accomplished hand. During modern-day restoration, his sinopia designs were rediscovered and preserved.

Ed Voves, Photo (2024)

 Ambrogio Lorenzetti's The Angel Gabriel and the Annunciate Virgin,

sinopia on plaster for frescoes, c. 1334-36

 Normally, a fresco would be based on a single design (as imagined above)  not separated into two components. But Ambrogio created a pair of designs because they would be placed on either side of a chapel window. Sunlight, beaming down between the images of the Angel Gabriel and Mary into the church interior, would symbolize the glow of divine light associated with the incarnation and birth of the Messiah.

Ambrogio Lorenzetti reused this Annunciation design for his last signed painting, dating to 1344. He chose a square format, very unusual for the 1300's but much favored by later painters.

Ed Voves, Photo (2024)

 Ambrogio Lorenzetti's The Annunciation, 1344

This tremendous work of art was graced with all the technical skill that Ambrogio could muster. This is especially notable in the way he treated the floor under Gabriel's and Mary's feet. The black and white tiles appear to diminish in size as they recede into the background.

Here we see one of the first, perhaps the very first, demonstrations of linear, one-point, perspective. Here, in Siena, the Italian Renaissance may be said to have begun.

Ironically, the great breakthrough in art which led to the "rise" of painting in Siena resulted from a masterpiece of sculpture. This was a monumental pulpit carved in marble by Nicola Pisano between 1265-1268. Narrative scenes from the New Testament adorned the sides of this pulpit, made for the cathedral of Siena. 

Sculpting in a deep, almost three-dimensional, relief, Pisano brought the sacred history of Christianity to life. His pulpit also revealed the potential of narrative depiction in other genres of art. One young artist from Siena artist evidently was very inspired: Duccio di Buoninsegna.

Little is known of Duccio's early life until 1285 when he painted the Ruccelai Madonna for a church in Florence. This powerful work was greatly influenced by Byzantine icons.The art of the Christian East would continue to influence Duccio, but when he was commissioned to paint a massive altarpiece for Siena's cathedral, he embellished it with narrative scenes drawn from Pisano's pulpit.

 

 The Nativity scene from Nicola Pisano's pulpit for the Siena Cathedral

 compared to Duccio's later version on the Maestà Altarpiece

Duccio's moment of triumph came on June 9, 1311 when the huge altarpiece was installed in Siena Cathedral to great acclaim. Today, it is very difficult to grasp the revolutionary impact of Duccio's Maestà because of the shocking mistreatment it has received over the centuries.

Duccio di Buoninsegna, The Maestà  (1311), as it appears today

When Duccio's Maestà was first exhibited, its height approached sixteen feet, with the central image of the Virgin Mary holding the Christ Child measuring fourteen feet. Many of the heavenly host of saints and angels surrounding Mary were rendered "life-sized" in human terms. 

Back in 1311, the Maestà was a considerably bigger, double-sided painting. Two bands of narrative paintings, called predella panels, were positioned at the bottom of the work, one on each side, front and back. These predella pictures depict incidents in the life of Jesus or his mother, Mary.

Ed Voves, Photo (2024) 

Predella paintings from the Maestà: The Nativity with Prophets Isaiah and Ezekiel (front predella panels); The Calling of the Apostles Peter and Andrew and The Wedding at Cana (back)

Above the Maestà's back predella sequence, forty more paintings of episodes from the life of Christ were displayed, chiefly for the spiritual edification of the clergy.  

Over the centuries, the Maestà lost its commanding position on the altar of Siena's cathedral. As artistic styles and popular tastes changed, the Maestà lost its place in the hearts of the city's people, as well. 

In 1506, the Maestà was taken down from the altar. Two hundred years later, it was treated with what amounts to an act of sacrilege. The huge panel was sawn down its entire length, separating the back from front. As illustrated above, the central part of the front was preserved, but the narrative predella panels below it were removed. All the scenes of Christ's life on the back were removed. Some of these were kept in Siena. Others, along with predella paintings, were sold or lost.

By the mid-1800's, the extent of this tragedy was realized. Scholars and collectors searched out the widely-separated panel paintings and a number returned to Siena. British and American collectors, some of whom possessed great wealth like Henry Clay Frick, purchased those available on the art market. Several of these were bequeathed to the National Gallery in London and to U.S. museums.The Met, the National Gallery in Washington and the Kimbell Museum in Fort Worth each have one; the Frick Gallery has two.

Gallery view of Siena: the Rise of Painting, showing predella paintings from the Maestà. (Photo, the Metropolitian Museum of Art)

In an incredible feat of planning, organization and transport, two of the front predella paintings from the Maestà and all eight of the known back predella paintings have been reunited for the exhibition. (The ninth has long been missing.)

Ed Voves, Photo (2024) 

Gallery view showing predella paintings from the Maestà. Visable in this photo are The Wedding at Cana and Christ and the Samaritan Woman 

With becoming modesty, the Siena: the Rise of Painting gallery caption notes that "this exhibition is the first time in centuries that the elements of the back predella can be seen together."

To stand before these predella paintings of episodes in the life of Jesus and see them as Duccio intended them to be seen, is truly a moment to be treasured.

Duccio, however, envisioned these separate scenes as parts of a whole sensory experience. His altarpiece, and later ones by Sienese artists, was intended to serve as a backdrop to the sacred rites of the Christian Mass and to help the members of the clergy and congregation to comprehend what was taking place during the Mass.

Might it still be possible to reassemble all of the surviving components of Duccio's masterpiece, if only for the length of this special exhibition?

Alas, no. It would have been absolutely impossible to bring the central panel of the Maestà with its fourteen-foot Madonna to New York and later to London to display in tandem with the predella paintings. But the curators have performed a second Coup de théâtre by securing the loan of a smaller, yet equally stunning, altarpiece.

Ed Voves, Photo (2024) 

Gallery view of Siena: the Rise of Painting, showing the Pieve Polyptych

      

In an act of unprecedented generosity, the Roman Catholic bishop of the city of Arezzo, Italy, has permitted the altarpiece known as the Pieve Polyptych to travel to The Met and, later, to the National Gallery in London for display in the exhibition. Arezzo, located in Tuscany to the east of Siena, was an important city-state like Siena during the 1300's.

The Pieve Polyptych is also known as the Tarlati Altarpiece. It is composed of several painted and gilded panels joined together to form an ornate altarpiece, still in use today. The overall structure of the Pieve Polyptych is similar to Duccio's Maestà and both were dedicated to the Virgin Mary.

Ed Voves, Photo (2024) 

Detail of Pietro Lorenzetti's Pieve Polyptych, showing the Annunciation in the upper register and Mary's Assumption in the pinnacle, above

In 1320, the powerful archbishop of Arezzo, Guido Tarlati, commissioned Pietro Lorenzetti to paint an altarpiece bearing the images of the Infant Jesus, the Virgin Mary and various saints of special significance to the people of his city. Pietro Lorenzetti was the elder of two immensely talented brothers and is believed to have been a member of Duccio's team worked with him on the Maestà.

Vasari, who was born in Arezzo, wrote that the Pieve Polyptych had a band of predella paintings at its base like the Maestà. Unfortunately, Vasari did not specify if these predella paintings were narrative scenes or portraits of saints or church officials.

Ed Voves, Photo (2024) 

Pietro Lorenzetti's Pieve Polyptych (Tarlati Altarpiece), 1320

Even if the predella paintings of the Pieve Polyptych were narrative scenes, Lorrenzetti was clearly tasked to create a "portrait-driven" altarpiece for Bishop Tarlati, who wanted to emphasize the importance of Arezzo's patron saints. 

The portraits of the four saints who stand to the left and right of the Virgin Mary are imagined likenesses. Lorenzetti had no way of knowing what St. Donatus looked like back in the early days of Christianity nor did he have much awareness of historical details of clothing. He depicted St. Donatus in the garb of a contemporary bishop, which likely pleased Bishop Tarlati.

Ed Voves, Photo (2024) 

Detail of the Pieve Polyptych, showing the portrait of St. Donatus

Human Psychology was a different matter. Donatus is portrayed as a distinct person, an individual with his own thoughts and concerns. So too were the other three saints, especially St. John the Baptist. It is impossible to believe that Lorenzetti did not use actual persons to model for these striking portraits.

With the Virgin Mary, Lorenzetti had to adhere to a more traditional likeness, for Christian teaching maintains that the mother of Jesus was born without the taint of sin.Thus, she remains untouched by the blemishes and wrinkles to which everyone else, including saints like Donatus, are subject.

Never-the-less, Pietro Lorenzetti's Pieve Polyptych is a revolutionary work of art. A major turning point in Western culture had occurred. 

For nearly a thousand years, Christian art had identified saints by a code of symbolism. The keys of Saint Peter, for instance, provided instant recognition for the leader of the Apostles. Lorenzetti took a different approach. He conceived the heroes and heroines of Christianity as flesh and blood human beings, like the members of the congregation worshiping before the altar.

The true significance of this would not be fully apparent for a long time to come. Pietro Lorenzetti's portraits, however, were expressive and populist images, well-suited to Siena's democratic government and the social dynamism rising throughout Tuscany during the 1300's.

And then, first as rumor and then as terrifying fact, bubonic plague, the Black Death, struck Siena. Thousands died in the pestilence, including both of the Lorenzetti brothers. The half-century of Siena's noble aspirations and solid achievements, 1300-1350, was over.

This is the point in time where the Met's splendid exhibition ends - by necessity, abruptly. We will close this review in like fashion and for the same reason. 

Siena deserved a better, kinder fate. It deserves, too, a more just and accurate assessment in the pages of history, as well.

This is a task which the curators of Siena: the Rise of Painting have taken upon themselves to achieve. With skill, conviction and brilliant insight, they have gone far to "acknowledge and probe the achievement of Siena's trecento artists - in painting, sculpture and metalwork ..."

As the above quotation from the exhibition catalog affirms, the artistic achievement of Siena extended to other genres beyond painting. This last was, of course, the most important, which is why I have emphasized painting in this review to the exclusion of almost everything else. 

In a future, follow-up essay in Art Eyewitness, we will examine more - and more widely - of the fantastic array of treasures on view in Siena: the Rise of Painting.

***

Text: Copyright of Ed Voves, all rights reserved                                                                                          

Original photography, copyright of Ed Voves

Introductory Image: Ed Voves, Photo (2024) Detail of Pietro  Lorenzetti’s Pieve Polyptych (the Tarlati Altarpiece). Measurements below.

Ed Voves, Photo (2024) Duccio di Buoninsegna’s Madonna and Child, 1290-1300.Tempera and gold on wood: 9 3/8 x 6 1/2 in.(23.8 x 16.5 cm. Metropolitan Museum of Art #2004.442

Ed Voves, Photo (2024) Goro di Gregorio's sculpture of the Enthroned  Virgin.Terracotta:  Overall: 17 5/8 x 10 x 9 1/2 in. (44.8 x 25.4 x 24.1 cm) Met Cloisters 1998.214

 Ed Voves, Photo (2024) Duccio di Buoninsegna’s The Virgin and Child with Saints Dominic and Aurea. Tempera and gold on panel: Framed: central panel 24 3/16 x 15 3/8 in.(61.5 x 39 cm); left wing 17 11/16 x 7 1/16 in.(45 x 18 cm); right wing 17 11/16 x 8 1/16 in.(45 x 20.5 cm) National Gallery, London.

Ed Voves, Photo (2024) Gallery view of Siena: the Rise of Painting exhibition at the Metropolitan Museum of Art. The Chalice of Peter of Sassoferrato from the collection of The Met Cloisters Museum appears in the foreground.

Ed Voves, Photo (2024) Gallery view of The Metropolitan Museum of Art, Gallery 601. Giotto's Adoration of the Magi appears in the foreground.

Ed Voves, Photo (2024) Simone Martini's Virgin and Child with Four Saints and a Dominican Nun. Tempera and gold leaf on panel: 11 3/16 × 7 15/16 in. (28.4 × 20.1 cm) Isabella Stewart Gardner Museum.

Ed Voves, Photo (2024) Photo collage of paintings from Siena, 1300-1350: Duccio di Buoninsegna, The Temptation of Christ on the Mountain. Tempera & gold leaf on poplar panel: 17 × 18 1/8 in. (43.2 × 46 cm) Frick Collection; Simone Martini, Detail of Christ Discovered in the Temple. Tempera & gold leaf on panel.19 1/2 × 13 13/16 in. (49.5 × 35.1 cm) Walker Art Museum, Liverpool; Ambrogio Lorenzetti, Stories from the Life of Saint Nicholas. Tempera and gold leaf on panel: 37 13/16 × 20 7/8 × 2 3/16 in. (96 × 53 × 5.5cm) Uffizi; Pietro Lorenzetti, Silhouetted Cross.Tempera on panel: 57 7/8 × 35 15/16 in. (147 × 91.3 cm) Museo Diocesan no, Cortona

Ed Voves, Photo (2024) Ambrogio Lorenzetti's The Angel Gabriel and the Annunciate Virgin. Plaster sinopie for frescoes: 94 15/16 × 68 1/4 in. (241.1 × 173.4 cm)95 7/16 × 68 1/16 in. (242.4 × 172.8 cm) San Galgano a Montesiepi

Ed Voves, Photo (2024) Ambrogio Lorenzetti's The Annunciation, 1344. Tempera and gold on panel: 50 × 47 in.  (127 × 120 cm) Pinacoteca Nazionale, Siena.

Comparitve study of the Nativity scene from Nicola Pisano pulpit for Siena Cathedral and nativity scene from Duccio's Maestà: (from https://upload.wikimedia.org/wikipedia/commons/8/8a/Pulpito_del_duomo_di_siena_06.JPG) and Ed Voves, Photo (2024)

Duccio di Buonisegna (Italian, 1255-1319) Maesta, 1308-1311. Tempera and gold on wood: 84 x 156 in. (213 x 396 cm.)  Museo dell'Opera del Duomo, Siena, Italy https://commons.wikimedia.org/wiki/File:Duccio_maesta1021.jpg

Ed Voves, Photo (2024) Gallery views of the Siena: the Rise of Painting exhibition at the Metropolitan Museum of Art, showing predella paintings from the Maestà:

Duccio di Buoninsegna, (Italian, active by1278–died 1318 Siena) The Nativity with the Prophets Isaiah and Ezekiel Tempera and gold leaf on single poplar panel Overall, including original frame, 18 7/8 × 343/16 × 3 1/8 in. (48 × 86.8 × 7.9 cm); painted surface: center image 16 15/16 x 17 5/16 in.(43 x 43.9 cm), left side image 16 15/16 x 65/15 in (43 x 16 cm), right side image 16 15/16x 6 5/16 in. (43 x 16 cm) National Gallery of Art; The Calling of the Apostles Peter and Andrew. Tempera and gold leaf on panel: painted surface 16 13/16 x 1715/16 (42.7 x 45.5 cm) National Gallery of Art; The Wedding at Cana. Tempera and gold leaf on panel17 1/8 × 18 5/16 in. (43.5 × 46.5 cm) Museo dell’ Opera del Duomo

Eileen Travell, Photo (2024) Gallery view of Predella Paintings from Duccio's Maesta. © Metropolitan Museum

Ed Voves, Photo (2024) Pietro Lorenzetti's Pieve Polyptych, 1320. Tempera and gold on panel Overall: 9 ft. 9 11/16 in. × 10 ft. 4 3/16 in. × 39/16 in. (299 × 315.5 × 9 cm) Center panel height: 10 ft. 4 3/16 in. (315.5cm) Flanking panels height: 94 1/2 in. (240 cm)

Margaret Anne Logan, Photo (2024) Gallery showing Pietro Lorenzetti's Pieve Polyptych, 1320.  Photo taken for Art Eyewitness.

Ed Voves, Photo (2024) Ambrogio Lorenzetti's The Angel Gabriel and the Annunciate Virgin. Plaster sinopie for frescoes: 94 15/16 × 68 1/4 in. (241.1 × 173.4 cm)95 7/16 × 68 1/16 in. (242.4 × 172.8 cm) San Galgano a Montesiepi