Central compartment of a wing of a diptych: The Crucifixion

Artist Puccio Capanna Italian, active circa 1330–1350; active Assisi circa 1340–1347

Datecirca 1330

MediumGilded gesso and tempera on walnut panel

Dimensions7 x 5 1/2 in. (17.8 x 14 cm)
Frame: 12 x 9 1/2 in. (30.5 x 24.1 cm)

ClassificationsPaintings

Credit LineGift of the Samuel H. Kress Foundation

Object numberGL.60.17.8

On View

On view

ProvenanceAlberti collection, Florence; Count Alessandro Contini Bonacossi, Florence; Samuel H. Kress Foundation, 1938; on loan to the National Gallery of Art, 1941–1951; gift of the Samuel H. Kress Foundation to the National Gallery of Art, 1952; deaccessioned by the National Gallery in 1960 and returned to the Samuel H. Kress Foundation; gift of the Samuel H. Kress Foundation to the NCMA, 1961.Published References[Bernard Berenson], The Central Italian Painters of the Renaissance (London: 1897), 150.

Osvald Siren, "Notizie critiche sui quadri sconosciuti nel museo cristiano vaticana," L'Arte 9 (1906), 321-335.

Pietro D'Achiardi, Guida della Pinacoteca Vaticana (Rome: 1913), 19.

Quadri primitivi della Pinacoteca Vaticana (Rome: 1929), 12.

Amadore Porcella, Guida della Pinacoteca Vaticana (Città del Vaticano: 1933), 49.

Roberto Longhi, "Fatti di Masolino e di Masaccio," La Critica d'Arte 5 (1940), 180.

Preliminary Catalogue of Paintings and Sculpture (Washington, DC: The National Gallery of Art, 1941), cat. no. 423.

L. Colletti, "Il Maestro colorista d'Assisi," La Critica d'arte 8 (March 1950), 445-6 (as Maestro Colorista d'Assisi).

R. Longhi, "Stefano Fiorentino," Paragone 11, no. 13 (1951), 27, illus. pl. 2b (as Stefano Fiorentino); reprinted in Giudizio sul Duecento: Note 1938-1947 in Guidizio sul Duecento e ricerche sul Trecento nell'Ilalia centrale 1939-1947, Op. Compl. 7 (Firenze: 1974), 71s, illus. pl 68b.

Margherita Gabrielli, "La 'Gloria Celeste' di Forentino," Rivista d'arte 31 (1956), 12.

The Samuel H. Kress Collection (Raleigh: North Carolina Museum of Art, 1960), 34, illus. (b-w) 35 (as Follower of Giotto).

Bernard Berenson, Italian Pictures of the Renaissance: The Florentine School, Vol. 1 (London: The Phaidon Press, 1963), 216 (as an unidentified Florentine painter between Maso and Daddi).

Fern Rusk Shapley, Paintings from the Samuel Kress Collections, Italian Schools, XIII-XV Century (London, 1966), 22.

Wolfgang Kermer, Studien aum Dyptychon in Der Sakralen Malerei, Inaugural Dissertation (Dusseldorf: Rudolf Stehle GmbH and Co., 1967), 45, illus. fig. 48 (as follower of Giotto).

Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection, Italian Schools XIII-XV Century, Vol. 1 (New York: The Phaidon Press, 1968), 22, illus. fig. 48 (as follower of Giotto).

Berenson, 1968, I p.221 as close imitators of Ambrogio and Pietro Lorenzetti??

Roberto Longhi, "Fatti di Masolino e Masaccio," Critica d'arte 5 (1940), no. 4.

Exhibition Number One from the Permanent Collection (exhibition catalogue) (Raleigh: North Carolina Museum of Art, 1970), 10, illus. (b-w) 11 (as by Follower of Giotto).

B. Zanardi, "Da Stefano Fiorentino a Puccio Capanna," Storia dell' Arte 33 (1978), 123ff.

Miklos Boskovits, "Puccio Capanna" in Dizionario biografico degli Italiani 18 (Rome: 1975), 386.

Bruno Zanardi, "Puccio Capanna" in Dizionario biografico degli Italiani 18 (Rome: 1975), 124.

"Francesco d'Assisi," Storia dell'arte (1982), 33.

Pietro Scarpellini, ed., Fra Ludovico da Pietralunga Descrizione della Basilica di S. Francesco e di altri santuari di Assisi (Treviso: 1982), 304.

Carlo Volpe, "Il lungo percorso del 'dipingere dolcissimo e tanto unito'" in Storia dell'arte italiana 5 Dal Medioevo al Quattrocento (1983), 272, 279.

Francesca Cerri, et al, Pusio Capanna (Assisi: Cassa di Risparmio di Perugia per La Promozione Culturale, (CRP), 1989), 58, 59, illus. (color) 111, no. 31.

Filippo Todini, La Pittura umbra dal Duecento al primo Cinquecento, 2 Vols. (Milan: 1989), Vol. 1, text 47; Vol. 2, illus. fig. 178.

Boskovits, A Critical and Historical Corpus of Florentine Painting, III/IX, The Painters of the Miniaturist Tendency (Florence: 1984), 296-97.

Enrico Castelnuovo, ed., La Pittura in Italia. Il Duecento e il Trecento, Vol. 2, 400, 561

David Steel, entry for Crucifixion, in North Carolina Museum of Art: Handbook of the Collections, Rebecca Martin Nagy, ed. (Raleigh: North Carolina Museum of Art, 1998), 118, illus. (color).

Alessandro Tomei, ed., Giotto e il Trecento (exhibition catalogue) (Milan: Skira, 2009), cat. no. 30, discussed 185-187, illus. (b-w) 185, (color) 40.

“NCMA Masterpieces Travel Abroad,” in North Carolina Museum of Art Preview (Summer 2009), mentioned and illus. (color) 12.

Perri Lee Roberts, Corpus of Early Italian Paintings in North American Public Collections: The South, Vol. 3 (Athens, GA: Georgia Museum of Art, University of Georgia, 2009), discussed 612, illus. (b-w) 613.

David Steel, entry for The Crucifixion, in North Carolina Museum of Art: Handbook of the Collections, rev. ed. (Raleigh: North Carolina Museum of Art, 2010), 254, illus. (color) 255.

Christine Sciacca, ed., Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350 (exhibition catalogue) (Los Angeles: The J. Paul Getty Museum, 2012), cat. no. 3.2, illus. (color).

William Brown, “Art + Science: A Collaboration with Duke University,” in North Carolina Museum of Art Preview (Summer 2013), 20–23, illus. (color) 21.

Martha Waggoner (AP), “Duke discovers use for laser in art world,” Raleigh News & Observer (July 8, 2013), 7B.

Martin Fischer, “Shedding new light on old art,” in Physics World 26, no. 12 (Winter 2013), 19–23, detail illus. (color) 19.

Lyle Humphrey, "Saul Among the Prophets: W.R. Valentiner, Robert L. Humber, Carl W. Hamilton, and the Italian Collection at the NCMA," Lisandra Estevez, ed., Collecting Early Modern Art (1400-1800) in the U.S. South (Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2021), 40.Exhibition HistoryWashington, DC, The National Gallery of Art, "Preliminary Catalogue of Paintings and Sculpture," 1941, cat. no. 423.

Raleigh, NC, North Carolina Museum of Art, "Exhibition Number One from the Permanent Collection," October 1970, 10 (as by follower of Giotto), illus. (b-w) 11.

Rome, Italy, Complesso del Vittoriano, 'Giotto e il Trecento," March 6-June 29, 2009, cat. no. 30, illus. (color) 40.

Los Angeles, CA, The J. Paul Getty Museum, "Florence at the Dawn of the Renaissance: Painting and Illumination, 1300-1350," November 13, 2012-February 10, 2013; Toronto, Art Gallery of Ontario, March 6-June 16, 2013, cat. no. 3.2, illus. (color).

Raleigh, NC, North Carolina Museum of Art, "The People's Collection, Reimagined," October 7, 2022–present. Object Rights Statement

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