Description

Hand painted icon from Gentile da Fabriano. Painting by Silvia Salvadori. Reproduction of Sienese school paintings of the '300 and' 400 made with the original technique: Tempera on gilded gold leaf table - 23 k -. WORK DRAWN FROM GENTILE DA FABRIANO. Madonna and Child icon on a gold background - pure gold foil.Unique copy of the Madonna of Humility. Icon of the Madonna and Child (Reproduction of art by Gentile da Fabriano - Silvia Salvadori) painted in tempera and pure gold on an ancient table according to the ancient recipes of the Sienese school. hand-painted sacred icon. Engravings and decorations made on pure gold. Reproduction of art by Gentile da Fabriano, Madonna of Humility. Art reproduction icon. The Madonna dell'Umiltà is a tempera painting on wood (56x41 cm) by Gentile da Fabriano, dating from around 1420-1423 and preserved in the National Museum of San Matteo in Pisa. Gentile da Fabriano's work comes from the Pisan Pia Casa della Misericordia, where it was taken in the nineteenth century for museum display. The circumstances of the tablet commission, which due to its size, was intended for private devotion are unclear. Perhaps it may have been requested by Alemanno Adimari, cardinal of Florentine origin and archbishop of Pisa, who had the sepulcher decorated in the Roman church of Santa Maria Nova by Gentile da Fabriano in those years (lost work mentioned by Giorgio Vasari). of Humility by Gentile da Fabriano, that is, sitting on the ground on a cushion, it was a very dear theme to the painting of the first fifteenth century. The Virgin Mary is depicted in adoration of her son on her knees, on a precious golden cloth, finely decorated. Stylistic and technical correspondences, such as the refined processing of gold in the background and fabrics, refer to the Florentine period of the artist, fully comparable with the Pala Strozzi (1423), while the pose of the Child follows another work of those years, the Adoration of the Child of the Getty Center. The artist had already tried his hand on at least one table at the Getty Museum in Los Angeles dating from around 1420-1421, where, however, the Virgin Mary is fully frontal. In the Pisa panel, on the other hand, the Virgin Mary is arranged almost in profile and exudes greater intimacy and stronger concentration in the sacred group. The child almost seems to smile at the mother and has a boyish gesture of grasping the golden edge of her dress as she walks around. Typical of the artist is the very soft treatment of the complexions. The sumptuousness of gold, mixed with red lacquers, hints at the background to the depth of the cushion and background curtain. The inscription "AVE M [A] T [ER] DIEGNA [D] EI" runs along the edge of the Virgin Mary's mantle. On the edge of the cloth where Jesus is lying, Arabic characters instead appear, which have been read as the verse of the Koran that reads "There is no other God outside Allah" (لا إله إلا الله - Lā ilāha illa Allāh) . The presence of such an inscription has not been clarified, perhaps it is a copy from a text without knowing the meaning, to give a touch of exoticism to the representation. Tempera and pure gold, colors identical to the original table painted by Gentile da Fabriano. Tempera on a pure gold background.