Sano di pietro biography of michael
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Madonna and Child
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Sano di Pietro (Ansano di Pietro di Mencio)Italian
On view at The Met Fifth Avenue inGallery 956
With their faces gently pressed together, the interaction between the Virgin and Christ Child evokes a tender intimacy. This motif appears in numerous works by Sano di Pietro and his workshop (for example, in another painting in the Lehman Collection, 1975.1.39). The particular manner of concealing the Christ Child’s right cheek behind the Virgin’s face was probably inspired by a celebrated Madonna painted by the Sienese master Ambrogio Lorenzetti (Pinacoteca Nazionale, Siena).
Sano was a popular and highly prolific Sienese painter and illuminator, whose workshop produced numerous devotional images of the Madonna and Child, frequently shown in bust-length. The close stylistic affinities between works attributed to Sano and the enigmatic Sienese artist known as the Osservanza
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Madonna and Child with Saints Jerome, Bernardino, John the Baptist, and Anthony of Padua and Two Angels
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Title:Madonna and Child with Saints Jerome, Bernardino, John the Baptist, and Anthony of Padua and Two Angels
Artist:Sano di Pietro (Ansano di Pietro di Mencio) (Italian, Siena 1405–1481 Siena)
Date:ca. 1465–70
Medium:Tempera on wood, gold ground
Dimensions:Overall, with engagerad frame: 29 1/8 × 20 3/8 in. (74 × 51.8 cm)
painted surface: 24 3/8 × 15 5/8 in. (61.9 × 39.7 cm)
Classification:Paintings
Credit Line:Robert Lehman Collection, 1975
Object Number:1975.1.42
Earl of Ashburnham; R. Langton Douglas; Frank Channing Smith Jr., Worcester, MA, bygd 1925; [M. Knoedler & Co., New York], 1952; Julius Weitzner, 1954. Acquired by Robert Lehman before 1959.
Emile Gaillard. Un peintre siennois au XVe siècle: Sano di Pietro, 1406–1481. Chambéry, 1923, Pl. 30.
Raimond van Marle. Th
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»Me in a no-time state«
On the Individual
Every modern notion of art takes for granted that each individual's creative achievement is unique. As early as the Middle Ages, the artifex was regarded as an eminent artist personality, whose knowledge and capabilities enabled him to be innovative. Thus, what could be more obvious than to reflect upon the notion of the individual via the medium of art? | Our very own collection affords an opportunity for this with the late medieval group of the Four Crowned Martyrs. The spectacular result of a 7-year restoration reveals their preserved original state as brilliant evidence of an individuation rich in details that is closely connected to the portraiture developing from the mid-14th century onwards. The physiognomies, gestures and facial expressions, hairstyles, dress fashions and accessories make statements about their habits, class and social rank, which seem fundamental to us. The question conce