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The Louvre: Fifty Plates in Colour cover

The Louvre: Fifty Plates in Colour

Chapter 39: THE SCHOOL OF VICENZA
By Paul G. Konody
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ArtHistory - Royalty

About This Book

A concise guide to key paintings in a major national museum, organized by country, school, and period from the fourteenth to the nineteenth centuries. It pairs fifty color plates with brief critical essays and descriptions that address attribution, dating, technique, dimensions, and composition, often revising official cataloguing. Illustrations span Italian, Flemish, Dutch, Spanish, German, and French schools and include practical information for visitors and the nomenclature conventions used by the authors.

THE SCHOOL OF VICENZA

THE first Vicentine painter known to us is Battista da Vicenza (fl. 1450), but it was not until the last quarter of the fifteenth century that Vicenza produced a painter of any note. Bartolommeo Montagna (1460?–1523) studied the art of the Vivarini, and so became the central figure in an unimportant school. His Ecce Homo (No. 1393), which bears the signature:

Bartholomeus Montagna
Fecit

in a cartellino fastened to a twig, is a mature work. The delightful and late picture of Three Angel Musicians (No. 1394), which is signed in a cartellino

Opus Bartholomei
Montagna,

shows the unmistakable influence of Gentile Bellini. The same motif is found in the three musician angels in Montagna’s magnificent Madonna and Child, with St. Andrew, St. Monica, St. Ursula, and St. Sigismund, of 1498, in the Brera.

Montagna’s son, Benedetto (fl. 1500–1540), Giovanni Buonconsiglio (1470?–1536?), and Giovanni Speranza (1480–1536) also practised as painters; but Vicentine art from the middle of the sixteenth century has little claim on our attention.