Holy Trinity Adored by Saint Francis and Saint Augustine
Holy Trinity Adored by Saint Francis and Saint Augustine
- Artist
- Alunno di Benozzo
- Artist Dates
- active late 15th century-early 16th century
- Artist Nationality
- Italian
- Title
- Holy Trinity Adored by Saint Francis and Saint Augustine
- Date
- about 1500
- Medium
- oil on panel
- Dimensions
- 43.7 x 36.7 cm (17-3/4 x 14-1/2 in)
- K Number
- K1025
- Repository
- Denver Art Museum
- Accession Number
- 1961.167
- Notes
Provenance
(Count Alessandro Contini Bonacossi [1878-1955] Rome-Florence); sold to Samuel H. Kress [1863-1955] on 1 June 1936 as Maestro Esiguo; gift 1961 to the Denver Art Museum, no. 1961.167 (on loan from Kress Foundation, 1954-1961).
Catalogue Entry
Alunno di Benozzo
Holy Trinity Adored by Saint Francis and Saint Augustine
K1025
Denver, Colo., Denver Art Museum (E-IT-I8-XV-938), since 1954.(1) Wood. 21 X 14 1/2 in. (53.3 X 36.8 cm.). Good condition. While the influence of Gozzoli is still dominant here and the Christ, as on the Processional Cross (K372, Fig. 318), recalls Alunno's drawings in the Uffizi, Florence,(2) the figure of St. Francis seems to be modeled on Perugino. It is similar, although in reverse, to Alunno's Berlin pen-and-bistre copy of Perugino's St. Bernard in the Santa Maria dei Pazzi fresco.(3) K1025 probably dates about 1500.(4) Provenance: Contini Bonacossi, Florence. Kress acquisition, 1936 – exhibited: National Gallery of Art, Washington, D.C. (835), 1946-53, as Alunno di Benozzo.
References
(1) Catalogue by W. E. Suida, 1954, p. 34, as Amadeo da Pistoia. (2) See note 4 under K372, above. (3) Alunno's drawing in Berlin, no. 4199, is reproduced by B. Berenson, Drawings of the Florentine Painters, vol. III, 193 8, fig. 61. (4) K1025 has been attributed (in ms. opinions) to the Esiguo Master by G. Fiocco, R. Longhi, F. M. Perkins, W. E. Suida (but see note 1, above), and A. Venturi. It is given to Alunno di Benozzo by R. van Marle (Italian Schools of Painting, vol. XVI, 1937, p. 208) and B. Berenson (Italian Pictures ... Florentine School, vol. I, 1963, p. 3). As typical of the iconography of the Trinity at the turn of the century, it is compared by H. S. Francis (in Bulletin of the Cleveland Museum of Art, vol. XLVIII, I96I, p. 58) with other examples of the subject.