id:			145210
accession number:	1970.44
share license status:	CC0
url:			https://clevelandart.org/art/1970.44
updated:		2023-01-11 02:52:35.083000

Madonna and Child, c. 1470. Workshop of Antonio Rossellino (Italian, 1427–1479 ). Painted stucco with traces of gilding; overall: 83.5 x 65.1 cm (32 7/8 x 25 5/8 in.). The Cleveland Museum of Art, Bequest of Samuel L. Mather 1970.44

title:				Madonna and Child
title in original language:	
series:				
series in original language:	
creation date:			c. 1470
creation date earliest:		1465
creation date latest:		1475
current location:		
creditline:			Bequest of Samuel L. Mather
copyright:			

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culture:	Italy, Florence, 15th century
technique:	painted stucco with traces of gilding
department:	European Painting and Sculpture
collection:	Sculpture
type:		Sculpture
find spot:	
catalogue raisonne: 

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CREATORS

* Antonio Rossellino (Italian, 1427–1479 )  - artist

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measurements: Overall: 83.5 x 65.1 cm (32 7/8 x 25 5/8 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

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CURRENT EXHIBITIONS

	title:		Florence and the Arts: Five Centuries of Patronage
	opening date:   1971-10-29T04:00:00
	<i>Florence and the Arts: Five Centuries of Patronage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29, 1971-January 2, 1972).

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LEGACY EXHIBITIONS

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PROVENANCE

	Samuel Mather (Cleveland, Ohio), upon his death, held in trust by the estate
	date: 
	footnotes: 	
	citations: 	


	Estate of Samuel Mather, by bequest to the Cleveland Museum of Art, 1970.
	date: 
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	citations: 	


	The Cleveland Museum of Art, Cleveland, OH
	date: 1970-
	footnotes: 	
	citations: 	


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fun fact:


digital description:


wall description:
This relief is one of several such painted stucco replicas cast after the marble original of about 1460–65 now in the Pierpont Morgan Library, New York. While this example has suffered old and obvious losses, it still conveys the overall composition and some of the subtlety of modeling of the marble. In addition, it retains sufficient portions of its fifteenth-century paint and gilding to suggest a colorfulness and richly decorated surface which the marble was never intended to have, and which connects this work with panel paintings of the time. The gilded wooden frame, not made for this relief, is Venetian and dates to about 1400–1450.
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RELATED WORKS

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CITATIONS

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/1970.44/1970.44_web.jpg
print:	https://openaccess-cdn.clevelandart.org/1970.44/1970.44_print.jpg
full:	https://openaccess-cdn.clevelandart.org/1970.44/1970.44_full.tif