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École OMBRIENNE circa 1380 The Virgin and Child,...

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École OMBRIENNE circa 1380 The Virgin and Child, between Saint Peter and Saint Catherine on a golden background (Reverse of painted panels). Three panels forming a triptych. Ancient restorations. 42 x 24 cm On the gold background engraved with acanthus motifs of the central panel of this triptych intended for intimate devotion, the Virgin holding the blessing Child sits on a cushion resting on an architectural seat without a backrest. The shutters hold the full-length images of Saint Peter on the left and Saint Catherine on the right, identified by their respective attributes: the keys for Peter and the wheel of torment for Catherine. The central image is presented under a three-lobed arcade in relief, resting on each side on a partly deteriorated column. This partition delimits in the pinnacle the place of a medallion that was originally intended to hold an image of Christ blessing, which has now disappeared. Another medallion, where Christ was probably to appear at the tomb, also disappeared, adorns the base in the centre of a gilded cartouche worked in relief. In spite of the insults of time, the work has kept all its original elements. Its general structure and the fine "a pastiglia" technique of the mouldings are reminiscent of the gilded delicacy of small Sienese devotional paintings such as those by Luca di Tommé around 1360 (Los Angeles, County Museum no. 57.68 or Corsi Collection cf. L'Art gothique siennois, Avignon, June-October 1983, no. 91, repr). The Siennese influence is also felt in the undulating line of the mantle of St. Peter as well as in the elegant posture of St. Catherine. But the gold background engraved with acanthus betrays an Umbrian origin. The execution of our still anonymous triptych is placed in this atmosphere, probably in Orvieto, where the great master Ugolino di Prete Ilario (known from 1357 to 1384), author of frescoes in the Duomo, and his pupil Cola Petruccioli (documented from 1372 to 1401) were particularly well known.

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