
Madonna and Child
Domenico Veneziano·c. 1445/1450
Historical Context
Domenico Veneziano's Madonna and Child from around 1445-50 reflects the artist's distinctive contribution to Florentine Renaissance painting through his innovative treatment of light and color. Veneziano, who may have trained in Venice before settling in Florence, introduced a luminosity and chromatic clarity that influenced his assistant Piero della Francesca. His surviving works are few but each demonstrates the revolutionary quality of his vision.
Technical Analysis
The tempera on poplar panel showcases Domenico's signature approach to light, with clear, bright tonalities and a cool, luminous palette that sets his work apart from Florentine contemporaries. The precise geometric construction and smooth modeling reflect the rational clarity of early Renaissance spatial thinking.
Provenance
Richard Lovell Edgeworth [1744-1817], Edgeworthstown, co. Longford, Ireland; by inheritance to his daughter, Maria Edgeworth [1767-1849], Edgeworthstown; by inheritance to her half-brother, Charles Sneyd Edgeworth [d. 1864], Edgeworthstown; by inheritance to Maria's and Charles' half-nephew, Prof. Francis Ysidro Edgeworth [1845-1926];[1] Acquired 1929 by (Julius Böhler, Munich);[2] purchased 1930 by (Duveen Brothers, Inc., London and New York);[3] sold May 1936 to the Samuel H. Kress Foundation, New York;[4] gift 1939 to NGA. [1] The catalogue of the 1930 exhibition in London gives the provenance as "Professor Edgeworth, Edgeworthstown, Ireland." A more detailed list of the previous owners is given in _Duveen Pictures in Public Collections of America_, New York, 1941: no. 42. On the Edgeworth family see _The Dictionary of National Biography. The Concise Dictionary_, Part 1, Oxford, 1953: 384, and Part 2, Oxford, 1961: 131. Julius Böhler sent Joseph Duveen a postcard of "Edgeworthstown House" and wrote in the postscript to the accompanying letter: "I am sorry I cannot give you more than the enclosed postcard regarding the pedigree of the Domenico Veneziano. This is the place and the people the picture comes from. I know nothing more and the picture was the only picture in the place." (Copy in NGA curatorial files; Box 299, Folder 1, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles). [2] Böhler Inventory card no. 226-29, Getty Research Institute gives source as "Sarasota." (copy NGA curatorial file). [3] Correspondence between Böhler and Joseph Duveen in the Duveen Brothers Records documents the purchase from the 1930 exhibition (copies in NGA curatorial files; Box 299, Folder 1, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles). [4] The Duveen Brothers letter confirming the sale of thirteen paintings and one sculpture, including NA 1939.1.221, is dated 18 May 1936; the provenance is given as "Prof. Edgeworth Coll'n" (copy in NGA curatorial files; Box 474, Folder 5, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles). See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1326.
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