Italian Paintings

SAINT PAUL

Bartolo DI FREDI (1330-1410)

circa 1395–1400

Enlarge picture jpg 136Ko (See the caption hereafter) (modal window)
Bartolo di Fredi (1330-1410) - Saint Paul, vers 1395-1400 - Huile sur bois, 212 x 50 cm - Musée des beaux-arts de Quimper © Musée des beaux-arts de Quimper

Tempera and gold background on wood

873-1-1

Bequeathed by Léonard Corentin-Guyho in 1936

H. 168 cm - L. 50 cm

This is the side panel of a polyptych constituting the « Altar of the Apostles » executed, no doubt, for the San Domenico Church in Siena.  Two other panels are kept at the Nelson-Atkins Gallery of Art in Kansas City (Saint Pierre - Saint Peter) and at the Petit Palais museum in Avignon (Saint Jean l’Évangéliste - Saint John the Evangelist).  The central panel could be a Virgin and Child (Rome, Corsini Gallery).  Saint Paul presents the epistles and his sword of martyrdom.  Heads of saints, dating from framing in the 19th century, are placed as they should appear on the altarpiece.  Léonard Corentin-Guyho, who bequeathed the work, was a magistrate, Quimperlé deputy and art lover.

 

Italian Paintings

SAINT PAUL

Bartolo DI FREDI (1330-1410)

circa 1395–1400

Enlarge picture jpg 136Ko (See the caption hereafter) (modal window)
Bartolo di Fredi (1330-1410) - Saint Paul, vers 1395-1400 - Huile sur bois, 212 x 50 cm - Musée des beaux-arts de Quimper © Musée des beaux-arts de Quimper

Tempera and gold background on wood

873-1-1

Bequeathed by Léonard Corentin-Guyho in 1936

H. 168 cm - L. 50 cm

This is the side panel of a polyptych constituting the « Altar of the Apostles » executed, no doubt, for the San Domenico Church in Siena.  Two other panels are kept at the Nelson-Atkins Gallery of Art in Kansas City (Saint Pierre - Saint Peter) and at the Petit Palais museum in Avignon (Saint Jean l’Évangéliste - Saint John the Evangelist).  The central panel could be a Virgin and Child (Rome, Corsini Gallery).  Saint Paul presents the epistles and his sword of martyrdom.  Heads of saints, dating from framing in the 19th century, are placed as they should appear on the altarpiece.  Léonard Corentin-Guyho, who bequeathed the work, was a magistrate, Quimperlé deputy and art lover.

 

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