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dc.contributor.authorNeroccio di Bartolomeo de' Landi and Lorenzo di Pietro (called Vecchietta)en_US
dc.date.accessioned2018-09-06T16:23:22Z
dc.date.available2018-09-06T16:23:22Z
dc.date.createdc. 1480-1en_US
dc.identifier.citationMatteo Civitale e il suo tempo: Pittori, scultori e orafi a Lucca nel tardo Quattrocento (Milan: Silvana, 2004), 506-8, cat. 5.11.en_US
dc.identifier.urihttp://hdl.handle.net/1974/24628
dc.descriptionMuseo di Villa Guinigi, Lucca; Cappella Buonvisi, San Frediano, Luccaen_US
dc.description.abstractThese two fragments (made of painted wood) were originally a part of an altarpiece in San Frediano in Lucca and are currently housed in the Museo di Villa Guinigi in Lucca. The altarpiece was begun by Vecchietta and finished after his death by Neroccio, another Sienese artist. Vecchietta's lower relief entombement of the Virgin, full of nervous energy in the poses and crinkly folds of the garments, contrast with Neroccio's more serene high relief image of Mary sitting on a throne made of cherubs, being carried bodily up into heaven. The polychromy is only partly perserved, and, from a fragmentary figure in the upper middle part of Vecchietta's sculpture, the altarpiece seems to have included St. Thomas receiving the girdle of the Virgin. The original composition can be imagined by looking at a later work that must imitate this altarpiece, Masseo Civitali's painted wood altarpiece of the same subjects, still housed in San Frediano in Lucca. Photograph(s) licensed under a Creative Commons Attribution 4.0 International License.en_US
dc.format.extent375x220 cmen_US
dc.format.mediumPainted wooden_US
dc.subjectAssumptionen_US
dc.subjectEntombmenten_US
dc.subjectVirginen_US
dc.subjectMaryen_US
dc.subjectSt. Thomasen_US
dc.subjectGirdleen_US
dc.titleEntombment and Assumption of the Virginen_US
dc.typeImageen_US
dc.rights.holderUna D'Eliaen_US
dc.rights.licensePhotograph(s) licensed under a Creative Commons Attribution 4.0 International Licenseen_US


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