Books by Dóra Sallay
First of a series of three, the present volume forms part of the 'Corpus of Sienese Paintings in ... more First of a series of three, the present volume forms part of the 'Corpus of Sienese Paintings in Hungary' that discusses the exceptionally vast number of Sienese paintings preserved today in Hungarian public and private collections.
The richly illustrated catalogue presents extensive and updated biographies of the artists, and thirty two entries on paintings from the period between 1420 and 1510. The catalogue entries provide significant new findings on questions of attribution, dating and iconography, original context and function, the circumstances of the commission, the reconstruction of now dismembered structures, and various other issues dealing with the relationship between the paintings and the art and culture of their time. The abundant documentation on each painting includes full-page color plates, technical descriptions, exhibition history, accurate information on the provenance, detail photographs, reproductions of punchmarks and the reverses of supports, and a complete annotated bibliography. The catalogue of paintings is preceded by an essay on the history of their collecting, conservation and previous research.
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In 1878, the founder of the Christian Museum in Esztergom, Hungary, Prince Primate and Archbishop... more In 1878, the founder of the Christian Museum in Esztergom, Hungary, Prince Primate and Archbishop János Simor (1813–1891) purchased an entire picture collection from the heirs of a private Roman collector, Canon Raffaele Bertinelli (1802–1878). This "galleria di classici sacri" consisted almost exclusively of Italian Renaissance paintings with religious subjects. The sixty paintings now form the core of the Italian collection in the Christian Museum and are well known to scholars of Italian art.
However, Bertinelli and the history of his gallery remain unknown to art historians. The present book, which is based primarily on archival research and 19th-century publications, provides a biography of the collector, and emphasizes his artistic interests and commissions. A discussion of the picture gallery follows, and it treats the formation of the collection as well as its later history. It establishes with greater precision than heretofore its original contents and defines the concept that guided the collector’s acquisitions.
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Book Chapters by Dóra Sallay
This essay provides a comprehensive survey of the history of collecting early Sienese paintings (... more This essay provides a comprehensive survey of the history of collecting early Sienese paintings (and early Italian paintings) in Hungary. It first discusses the history and character of the private collections of Johann Anton Ramboux (1790–1866), Arnold Ipolyi (1823–1886) and Raffaelle Bertinelli (1802–1878) that formed the basis of the later public collections. This is followed by an overview of the history of the two major public collections of early Italian art: the Museum of Fine Arts (Szépművészeti Múzeum) in Budapest and the Christian Museum (Keresztény Múzeum) in Esztergom. Particular emphasis is laid on the history of the paintings themselves: the circumstances of their acquisition, sale, transport, conservation, storage, and exhibition, and the history of their scholarly study and reception by the public.
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Articles by Dóra Sallay
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The first part of this article presents technical information clarifying the original function of... more The first part of this article presents technical information clarifying the original function of the scenes known as the Stories of Esther by Jacopo del Sellaio (Florence, ca. 1441/1442 – Florence, 1493). The five fragments, now divided between Florence, Paris and Budapest, have long been recognised as belonging to the same ensemble, but there has been no consensus among scholars about their original arrangement and physical setting. The new technical results published here prove that all five paintings are fragments of two front panels from a pair of “cassoni” (wedding chests), rather than being parts of a frieze, a lettuccio (daybed) or a spalliera (painted backboard or wainscoting), as most researchers in the last thirty years have suggested.
The reconstruction of the two wedding chests also affects how the paintings are interpreted, for the fact that they once decorated two separate items of furniture that could be easily compared with each other accentuates the didactic message of the depictions. Iconographical analysis in the second part of the article suggests that this pair of wedding chests exploits the interpretative possibilities of the Old Testament story to present the bride with both a positive and a negative model of wifely conduct.
At present, the Florence–Paris–Budapest wedding chests seem unique in that the space allotted by the commissioner to Vashti’s story is equal to that given to Esther’s, and for this reason it would be more appropriate to call their subject the Stories of Vashti and Esther.
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Read online: https://issuu.com/szepmuveszeti/docs/bulletin_2017_18_hu_0903_issuu
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Catalogue entries by Dóra Sallay
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Books by Dóra Sallay
The richly illustrated catalogue presents extensive and updated biographies of the artists, and thirty two entries on paintings from the period between 1420 and 1510. The catalogue entries provide significant new findings on questions of attribution, dating and iconography, original context and function, the circumstances of the commission, the reconstruction of now dismembered structures, and various other issues dealing with the relationship between the paintings and the art and culture of their time. The abundant documentation on each painting includes full-page color plates, technical descriptions, exhibition history, accurate information on the provenance, detail photographs, reproductions of punchmarks and the reverses of supports, and a complete annotated bibliography. The catalogue of paintings is preceded by an essay on the history of their collecting, conservation and previous research.
However, Bertinelli and the history of his gallery remain unknown to art historians. The present book, which is based primarily on archival research and 19th-century publications, provides a biography of the collector, and emphasizes his artistic interests and commissions. A discussion of the picture gallery follows, and it treats the formation of the collection as well as its later history. It establishes with greater precision than heretofore its original contents and defines the concept that guided the collector’s acquisitions.
Book Chapters by Dóra Sallay
Articles by Dóra Sallay
The reconstruction of the two wedding chests also affects how the paintings are interpreted, for the fact that they once decorated two separate items of furniture that could be easily compared with each other accentuates the didactic message of the depictions. Iconographical analysis in the second part of the article suggests that this pair of wedding chests exploits the interpretative possibilities of the Old Testament story to present the bride with both a positive and a negative model of wifely conduct.
At present, the Florence–Paris–Budapest wedding chests seem unique in that the space allotted by the commissioner to Vashti’s story is equal to that given to Esther’s, and for this reason it would be more appropriate to call their subject the Stories of Vashti and Esther.
Catalogue entries by Dóra Sallay
The richly illustrated catalogue presents extensive and updated biographies of the artists, and thirty two entries on paintings from the period between 1420 and 1510. The catalogue entries provide significant new findings on questions of attribution, dating and iconography, original context and function, the circumstances of the commission, the reconstruction of now dismembered structures, and various other issues dealing with the relationship between the paintings and the art and culture of their time. The abundant documentation on each painting includes full-page color plates, technical descriptions, exhibition history, accurate information on the provenance, detail photographs, reproductions of punchmarks and the reverses of supports, and a complete annotated bibliography. The catalogue of paintings is preceded by an essay on the history of their collecting, conservation and previous research.
However, Bertinelli and the history of his gallery remain unknown to art historians. The present book, which is based primarily on archival research and 19th-century publications, provides a biography of the collector, and emphasizes his artistic interests and commissions. A discussion of the picture gallery follows, and it treats the formation of the collection as well as its later history. It establishes with greater precision than heretofore its original contents and defines the concept that guided the collector’s acquisitions.
The reconstruction of the two wedding chests also affects how the paintings are interpreted, for the fact that they once decorated two separate items of furniture that could be easily compared with each other accentuates the didactic message of the depictions. Iconographical analysis in the second part of the article suggests that this pair of wedding chests exploits the interpretative possibilities of the Old Testament story to present the bride with both a positive and a negative model of wifely conduct.
At present, the Florence–Paris–Budapest wedding chests seem unique in that the space allotted by the commissioner to Vashti’s story is equal to that given to Esther’s, and for this reason it would be more appropriate to call their subject the Stories of Vashti and Esther.
The painting depicts Saint Sebastian and – probably – Saint Dominic (the lily that the Dominican saint holds is a later addition). It was originally the right lateral panel of a triptych. No further elements from the altarpiece have yet been identified. It was attributed to Giovanni del Biondo on the basis of photographs by Angelo Tartuferi and Daniele Parenti. The dating remains uncertain (third quarter of 14th century).
The top of the painting has been cut down and replaced with a new piece of wood. The background has been regilt. The red drapery on the ground is entirely restored. Two damaged red wax seals on the reverse of the panel with the inscription „DELEGAZIONE DI PUBBL.[ICA] SI CUREZZA. RICORBOLI” may provide a clue for the earlier provenance of the painting.
For a conservation report on the painting (in Hungarian), see http://www.restauratorart.hu/project/italia-firenze-kozepkor-szent-domonkos-es-szent-sebestyen-festmeny-restauralasa/
“Giovanni di Paolo: Cristo dolente e Cristo trionfante”, pp. 202-203, cat. C.10, “Giovanni di Paolo: Polittico del 1426”, pp. 206-209, cat. C.12, “Giovanni di Paolo: Predella del polittico Branchini?”, pp. 210-213, cat. C.13, “Giovanni di Paolo: Predella di polittico, 1435 circa”, pp. 214-217, cat. C.14, “Giovanni di Paolo: Predella del polittico dell’altare di San Domenico”, pp. 220-221, cat. C.16, “Giovanni di Paolo: Trittico portatile,” pp. 370-371, cat. E.5, “Giovanni di Paolo: San Girolamo”, pp. 376-377, cat. E.8,“Giovanni di Paolo: Madonna col Bambino”, pp. 378-379, cat. E.9, “Giovanni di Paolo: Scatola col Trionfo di Venere”, pp. 416-417, cat. E.28.