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Saint Jerome Reading by Alvise Vivarini

Saint Jerome Reading

Alvise Vivarini·c. 1476

Historical Context

Alvise Vivarini painted this Saint Jerome Reading around 1476, during his early career as a member of the prominent Vivarini family of Venetian painters. Alvise represented the final generation of the Vivarini workshop on Murano, and his work shows the transition from the family's Gothic-influenced tradition to the new naturalism introduced by Giovanni Bellini and Antonello da Messina. The scholarly Saint Jerome was a popular subject reflecting humanist interest in learning.

Technical Analysis

The tempera on panel demonstrates Vivarini's sharp, precise technique with clear contours and careful surface detail. The rendering of the saint's study environment — books, desk, and architectural setting — shows the Northern European influence on Venetian painting through Antonello da Messina.

Provenance

Mameli, Rome.[1] William Jones, Clytha Park, Gwent, Wales; (his sale, Christie & Manson, London, 8 May 1852, no. 65).[2] (Thomas [Tomás] Harris, London), by 1930;[3] purchased by Godfrey Locker-Lampson [1875-1946], Barlborough Hall, Derbyshire, and London, by 1937;[4] purchased by (Count Alessandro Contini Bonacossi, Florence);[5] sold September 1938 to the Samuel H. Kress Foundation, New York;[6] gift 1939 to NGA. [1] Fern Rusk Shapley, _Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century_, London, 1968: 48-49, and _Catalogue of the Italian Paintings_, 2 vols., Washington, D.C., 1979: 1:535-536, lists this owner, without citing a source. There is no further information in NGA curatorial files. [2] _Catalogue of the Important Collection of Capital Pictures, by Italian, Flemish, and English Masters, Acquired Chiefly during a Long Residence in Italy, by William Jones, Esq., of Clytha_. No. 65 is described as "Vivarini: St. Paul the Hermit, seated, with a book in his hand, near a rocky cave, with a lake in the background." On Jones and his collection, see Francis Russell, "Documents for the History of Collecting: 17," _Burlington Magazine_ 136 (1994): 90. [3] Tancred Borenius, "An Unpublished Work by Alvise Vivarini," _Der Cicerone_ 22 (1930): 500, repro. 501. [4] Robert Langton Douglas, _A Few Italian Pictures Collected by Godfrey Locker-Lampson_, London, n.d.: 44, repro. 45. Although no date is printed, the catalogue is reliably dated to 1937 on the following evidence, kindly provided by Charles Sebag-Montefiore in a letter of 2 September 2001 (in NGA curatorial files): a manuscript note by Ellis Waterhouse in his own copy of the catalogue (Ellis K. Waterhouse notebooks and research files, 1801-1987, bulk 1924-1979; Getty Research Institute, Los Angeles), and a reference by Denys Sutton in "Robert Langton Douglas. Connoisseur of Art and Life (Part IV)," _Apollo_ CX, no. 209, new series (July 1979): 30. Douglas probably handled Locker-Lampson pictures after Locker-Lampson's death in 1946. [5] According to Charles Sebag-Montefiore's _A Bibliography of the British as Collectors_ (forthcoming; copy of the entry for Godfrey Locker-Lampson in NGA curatorial files, kindly provided by the author), the 1937 catalogue was likely "prepared as a record of the collection before its dispersal." Contini Bonacossi purchased four paintings from the collection, in either 1937 or 1938. [6] The bill of sale to the Kress Foundation, for a total of twenty-eight paintings including the Vivarini, is dated 16 September 1938 (copy in NGA curatorial files). See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1854.

See It In Person

National Gallery of Art

Washington, D.C., United States

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Quick Facts

Medium
Tempera on panel
Dimensions
overall: 31.4 × 25.1 cm
Era
Early Renaissance
Style
Early Renaissance
Genre
Religious
Location
National Gallery of Art, Washington, D.C.
View on museum website →

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