Madonna and Child, Fermo
The Madonna and Child of Fermo was painted by Vittore Crivelli for the church of San Giuliano, where it probably formed the central panel of a polyptych that was dismantled at some unknown point in time.
The first to attribute it to the Venetian artist was Filippo Raffaelli in 1889, and it was not until 1907 that Arduino Colasanti became convinced that it was an imitation of Vittore because it was similar to the central compartment of the polyptych for the church of San Martino in Monte San Martino. Luigi Serra insisted on Vittore Crivelli's originality in 1934.
The Madonna and Child was immediately combined with the Pietà kept in the same location, thus emphasizing that the two panels, of equal width, were part of a large polyptych. Federico Zeri later linked other works together to form a dispersed group based on the gold background, the halos, and the engraving: a holy bishop and St. John the Baptist from the Walters Art Gallery in Baltimore, and St. Julian with snakes from the Petit Palais in Avignon.
The work was probably commissioned from Vittore Crivelli, with a notarial deed dated November 9, 1487, by Prior Don Piersante di Antonuccio, Evangelista di ser Lucentino, and Nicolò di Giovanni Menici da Fermo, mayors of the church of San Giuliano in Fermo. The polyptych was probably modeled on the one created between 1484 and 1486, also by the Venetian artist, for the altar of Giovanni Leonardo di ser Antonio in the church of Carità in Fermo, but it was to consist of two panels.
Therefore, the work consisted of five large panels and was paid for at 70 ducats, compared to 50 for Giovanni Leonardo's triptych. The contract also required the artist to carve the altarpiece, which was then paid for separately.
In 1832, Maggiori saw the polyptych dismantled in the sacristy, so it can be assumed that following the reconstruction of the church, the panels of the work found their way onto the antiques market and only the Madonna and Child and the Pietà were placed in the church of Santa Lucia in Fermo.
The panel depicts a Madonna seated on a throne made of a cloud of cherubs and seraphim. The Woman gently embraces the Baby Jesus, who is seated on a cushion resting on his Mother's legs. The background is gilded, applied using the gouache technique, and behind the Virgin hangs a blue drape of honor with gold detailing. The artist also used precious metal for the halos, the crown, and some elements of the various garments. In addition, to enrich the halos, Vittore engraved and punched the foil after applying it to the bolus.
On either side of the Madonna are two seraphim and the classic festoons full of fruit, accompanied by a cucumber.
Jesus wears a necklace and bracelet made of beads reminiscent of red coral, an element symbolizing the blood of Christ. He also carries a white lily, symbolizing the purity of the Virgin, while his other hand is raised in blessing.
In this work, Vittore also uses silver foil in the small moon at the feet of the Madonna, which appears dark due to oxidation.
Vittore Crivelli
Madonna col Bambino
Tempera su tavola, 130×60 cm
Museo Diocesano
Piazzale Girfalco
Fermo (FM)
Madonna and Child, Fermo
The Madonna and Child of Fermo was painted by Vittore Crivelli for the church of San Giuliano, where it probably formed the central panel of a polyptych that was dismantled at some unknown point in time.
The first to attribute it to the Venetian artist was Filippo Raffaelli in 1889, and it was not until 1907 that Arduino Colasanti became convinced that it was an imitation of Vittore because it was similar to the central compartment of the polyptych for the church of San Martino in Monte San Martino. Luigi Serra insisted on Vittore Crivelli's originality in 1934.
The Madonna and Child was immediately combined with the Pietà kept in the same location, thus emphasizing that the two panels, of equal width, were part of a large polyptych. Federico Zeri later linked other works together to form a dispersed group based on the gold background, the halos, and the engraving: a holy bishop and St. John the Baptist from the Walters Art Gallery in Baltimore, and St. Julian with snakes from the Petit Palais in Avignon.
The work was probably commissioned from Vittore Crivelli, with a notarial deed dated November 9, 1487, by Prior Don Piersante di Antonuccio, Evangelista di ser Lucentino, and Nicolò di Giovanni Menici da Fermo, mayors of the church of San Giuliano in Fermo. The polyptych was probably modeled on the one created between 1484 and 1486, also by the Venetian artist, for the altar of Giovanni Leonardo di ser Antonio in the church of Carità in Fermo, but it was to consist of two panels.
Therefore, the work consisted of five large panels and was paid for at 70 ducats, compared to 50 for Giovanni Leonardo's triptych. The contract also required the artist to carve the altarpiece, which was then paid for separately.
In 1832, Maggiori saw the polyptych dismantled in the sacristy, so it can be assumed that following the reconstruction of the church, the panels of the work found their way onto the antiques market and only the Madonna and Child and the Pietà were placed in the church of Santa Lucia in Fermo.
The panel depicts a Madonna seated on a throne made of a cloud of cherubs and seraphim. The Woman gently embraces the Baby Jesus, who is seated on a cushion resting on his Mother's legs. The background is gilded, applied using the gouache technique, and behind the Virgin hangs a blue drape of honor with gold detailing. The artist also used precious metal for the halos, the crown, and some elements of the various garments. In addition, to enrich the halos, Vittore engraved and punched the foil after applying it to the bolus.
On either side of the Madonna are two seraphim and the classic festoons full of fruit, accompanied by a cucumber.
Jesus wears a necklace and bracelet made of beads reminiscent of red coral, an element symbolizing the blood of Christ. He also carries a white lily, symbolizing the purity of the Virgin, while his other hand is raised in blessing.
In this work, Vittore also uses silver foil in the small moon at the feet of the Madonna, which appears dark due to oxidation.
