Antonello Da Messina (alternatively: Antonella di Messina; Antonello di Giovanni degli Antonii; Antonellus Massaneus)
Person
Found in 31 Collections and/or Records:
A Friar and His Church, Centered is a friar who holds a flower in his right hand and a church in his right; he looks in the distance.
Item — Box OS20: [Barcode: 30081049761251]
Identifier: spc-mss0088-s20-i0150
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0145; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu
Dates:
1930 - 1967
A Friar and His Church, Centered is a friar who holds a flower in his right hand and a church in his right; he looks in the distance. This version is without the illustrious frame.
Item — Box OS20: [Barcode: 30081049761251]
Identifier: spc-mss0088-s20-i0151
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0146A; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu
Dates:
1930 - 1967
Annuncitaion, This devotional image, along with the image beside it, may have been one section of a diptych or triptych. It shows the Archangel Gabriel as he gives Mary the Annunciation of the birth of Christ. He wears a hat and holds a lily, and is framed completely within his panel as his profile looks right and shows him holding his right hand in a gesture of blessing or announcement. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0049
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0047.1; Public Notes:
Dates:
1930 - 1967
Annuncitaion, This devotional image, along with the image beside it, may have been one section of a diptych or triptych. It shows the Virgin Mary receiving the Annunciation with her arms crossed and reading reads from a book, presumably the Torah or Bible. She is framed within her panel and her body and head are turned toward the viewer's left. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0050
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0047.2; Public Notes: The captions label the two as sections from a triptych, and coming from the Museo Nazionale.
Dates:
1930 - 1967
Christ at the Flagellation, Christ is shown from the chest up as he stands tied to a column. The instruments of the Passion, including the crown of thorns on his head and rope around hisneck are attached. His hair is curled in columnar rows similar to the column behind his head. His blood and tears drop down his face in neat, little drops; looks up to heaven saddened, but his body shows little distress from the physical torture. This is a basic record created to enable public access to scanned images. Full research on this image is pending., c.1476-1478
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0061
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0058; Public Notes: Formerly in the Cook Collection in Richmond. This photograph is almost identical to the painting in the Louvre, save for one added drop of blood and the signature symbol over the left shoulder.
Dates:
c.1476-1478
Christ Bound to the Column, The painting depicts a scene from the Passion of the Christ. Jesus is bare chested and wears a garment at his waist. His arms are behind his back, as they have been tied up so that he is up against the column behind him. He looks up to heaven with a heartfelt plea. On his brow is the crown of thorns and his hair comes down in columnar curls that look moist. Otherwise, his body bears no bruising or torture from the beatings that are recorded within the Gospels. The architecture behind him frames the scene by two Classical columns with floral capitals that support an arch. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0097
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0094; Public Notes: The caption notes the work was once part of the Knoedler collection.
Dates:
1930 - 1967
Detail from the Madonna and Child in Glory with Saints and Devotees, This detail comes from an image crowning the Madonna, and venerating the Mother and Child by saints and devotees in the heavenly realm. This record shows a closer view of the Madonna and Child seated on a cloud, with devotees and saints flanking them. Some of those shown wear monastic habits from different orders, some hold their saint attributes; overall, it looks like a general crowd with some that can be identified easily by what they hold or wear. To Mary's left, it appears that God the Father, wearing a royal headdress and carrying a scepter, is watching the scene within the crowd. To Mary's right, she accepts rosary beads from a man in pontifical robes, who may be Saint Peter, the first pope. In small scale, below the cloud Mary and Jesus rest on, there is an image from the scene in the far background. This is Ascension of Mary, and specifically the detail shows as she is carried to heaven by angels. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0044
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0042; Public Notes:
Dates:
1930 - 1967
Detail from the Madonna and Child in Glory with Saints and Devotees, This detail comes from an image rendering the veneration of the Madonna and Child by saints and devotees in the heavenly realm. This shows a closer view of the devotees on Mary's right side. Many wear similar monastic habits and hats, and many hold rosaries. Above, but cut off in the scene, is the exchange of rosary beads between the man who looks like the pope and Mary. This may be Saint Peter or another more contemporary pontifical saint. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0045
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0043; Public Notes:
Dates:
1930 - 1967
Detail from the Madonna and Child in Glory with Saints and Devotees, This detail comes from an image rendering the veneration of the Madonna and Child by saints and devotees in the heavenly realm. This shows a closer view of the saints and devotees on Mary's left side. Directly beside her left arm there is an elder bearded man with a regal headdress and a scepter with an orb at its top; this looks to be God the Father despite his position below her. Two men over, there is another younger looking bearded figure wearing a crown and holding a scepter, as well. This may be a grown-up Christ. Alternatively, these may be Old Testament figures like Moses and King David, but there is no confirming indication either way. The crowd in general consists of saints, identified by their saint attributes, and devotees looking up to Christ and Mary in praise, with many holding rosary beads. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0046
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0044; Public Notes:
Dates:
1930 - 1967
Detail of the Predella of Madonna and Child in Glory with Saints and Devotees, This detail comes from an image crowning the Madonna, and venerating the Mother and Child by saints and devotees in the heavenly realm. This record shows a detail of the middle of the banner that appears at the bottom, and the predella panel scene showing a lake landscape with a town in the distance and mountains behind. This may reference a town significant to Christ or Mary, or it may have been the contemporary location of this icon. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0043
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0041; Public Notes:
Dates:
1930 - 1967
Grisaille Scene and Tethered Roebuck, Verso of two panels with Portrait of Alvise Contarini and Portrait of a Nun of San Secondo, From the Metropolitan Museum of Art website: "Little is known about the mysterious Venetian artist Jacometto (Jacometto Veneziano). The portraits in the Robert Lehman Collection (1975.1.85 and 1975.1.86), his most important surviving paintings, are most likely the ones mentioned in a sixteenth-century guidebook citing the artistic masterpieces of Venice, where they are described admiringly as "a most perfect work." Based on this early reference, the sitters have traditionally been identified as Alvise Contarini and a nun of San Secondo, though the secular garb of the female sitter makes the latter identification unlikely. Both portraits are striking for their meticulous detail, highly refined technique, and luminous, atmospheric landscape backgrounds."; This image shows the verso of two portrait panels (which depict Alvise Contarini a woman, possibly a nun from San Secondo). On the verso sides, we see a grisaille scene and a depiction of a roebuck chained to an inscribed and mounted medallion., c. 1430-1479
Item — Box 194: [Barcode: 30081049759719]
Identifier: spc-mss0088-s19-i0749
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.VENI.0743.2; Public Notes: inv. # 1975.1.86 and 1975.1.85
Dates:
c. 1430-1479
Madonna and Child in Glory with Saints and Devotees, This image shows the Madonna and Child venerated in a heavenly realm. The mother and child are placed centrally and raised slightly above the scene. Two angels are above Mary's head, together placing a crown on her head. Flanking the Christ child and Mary are saints and devotees. It appears that God the Father appears at Mary's left side, crowned and holding a scepter. Many of the devotees wear monastic habits on the left, and the large number of saints, mostly on the right, can be individually identified by his or hear saint attributes on his or her person. Below the scene are two angels on either side of the panel holding an arched banner. Behind the central images in the background there is a flat landscape that leads to hills in the far distance. Between the central scene and far distance there is a small-scale rendering of the Ascension of Mary. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0042
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0040; Public Notes:
Dates:
1930 - 1967
Panel of Antonello da Messina, This altarpiece panel is an elaborate icon to the Virgin Mary. In the central panel space is the Madonna and Child enthroned. The two gaze directly at the viewer. The haloed Mary holds in her left hand a portable icon, similar to one that a contemporary worshiper may have had. The child holds in hand in a gesture of blessing. The throne and Mary's long dress are covered with non-figural decoration. Behind the throne are flowers on both sides and a partly cloudy sky. Above the central panel in a half-circular piece atonp, God the Father holds his arms outstretched, with his right hand in a gesture of blessing and in his left an orb symbolizing the world. Rays come from behind his head and flanking him are the heads of putti or winged, infant faces. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0028
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0026; Public Notes:
Dates:
1930 - 1967
Pieta, In this work, the dying Christ is supported by three angels.
Item — Box 202: [Barcode: 30081049759800]
Identifier: spc-mss0088-s19-i1573
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.VENI.1552; Public Notes:
Dates:
1930 - 1967
Pieta, In this work, the dying Christ is supported by three angels.
Item — Box 202: [Barcode: 30081049759800]
Identifier: spc-mss0088-s19-i1574
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.VENI.1553; Public Notes:
Dates:
1930 - 1967
Portrait of a Man, Half length portrait of a man wearing black.
Item — Box 307: [Barcode: 30081049760956]
Identifier: spc-mss0088-s49-i0087
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.FORG.0086; Public Notes: Suspected forgery.
Possibly in the collection of Gualino a Torino
This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please email us at specialcollections@vanderbilt.edu
Dates:
1930 - 1967
Portrait of Alvise Contarini and Portrait of a Nun of San Secondo, This image shows two portraits, each on individual panels. One depicts Alvise Contarini, and the other depicts a woman, possibly a nun from San Secondo.; From the Metropolitan Museum of Art website: "Little is known about the mysterious Venetian artist Jacometto (Jacometto Veneziano). The portraits in the Robert Lehman Collection (1975.1.85 and 1975.1.86), his most important surviving paintings, are most likely the ones mentioned in a sixteenth-century guidebook citing the artistic masterpieces of Venice, where they are described admiringly as "a most perfect work." Based on this early reference, the sitters have traditionally been identified as Alvise Contarini and a nun of San Secondo, though the secular garb of the female sitter makes the latter identification unlikely. Both portraits are striking for their meticulous detail, highly refined technique, and luminous, atmospheric landscape backgrounds.", c. 1430-1479
Item — Box 194: [Barcode: 30081049759719]
Identifier: spc-mss0088-s19-i0747
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.VENI.0742; Public Notes: inv. # 1975.1.86 and 1975.1.85
Dates:
c. 1430-1479
Portrait of Alvise Contarini and Portrait of a Nun of San Secondo, This image shows two portraits, each on individual panels. One depicts Alvise Contarini, and the other depicts a woman, possibly a nun from San Secondo.; From the Metropolitan Museum of Art website: "Little is known about the mysterious Venetian artist Jacometto (Jacometto Veneziano). The portraits in the Robert Lehman Collection (1975.1.85 and 1975.1.86), his most important surviving paintings, are most likely the ones mentioned in a sixteenth-century guidebook citing the artistic masterpieces of Venice, where they are described admiringly as "a most perfect work." Based on this early reference, the sitters have traditionally been identified as Alvise Contarini and a nun of San Secondo, though the secular garb of the female sitter makes the latter identification unlikely. Both portraits are striking for their meticulous detail, highly refined technique, and luminous, atmospheric landscape backgrounds.", c. 1430-1479
Item — Box 194: [Barcode: 30081049759719]
Identifier: spc-mss0088-s19-i0748
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.VENI.0743.1; Public Notes: inv. # 1975.1.86 and 1975.1.85
Dates:
c. 1430-1479
Saint Sebastian, This looks to be a devotional image since Saint Sebastian looks directly at the viewer. He seems almost unaware of the arrows in his chest and neck, rather these identify him as the Saint Sebastian, who was martyred by being tied to a column (which is slightly visible above his head) and shot with arrows. Behind the saint's portrait is a nondescript landscape that extends from some shrubbery near the foreground and mountains in the distant background. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0055
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0052; Public Notes: The caption notes this is housed in Bergamo in the Accad. Carrara.
Dates:
1930 - 1967
Saint Sebastian, This looks to be a devotional image since the haloed Saint Sebastian looks directly at the viewer. He seems almost unaware of the arrows in his arms, chest, and neck. Rather, these identify him as the Saint Sebastian, who was martyred by being tied to a column (which is visible above his head) and shot with arrows. The image shows the saint from the chest up, emphasized by a white, blank background. This is a basic record created to enable public access to scanned images. Full research on this image is pending.
Item — Box 195: [Barcode: 30081049759727]
Identifier: spc-mss0088-s20-i0056
Scope and Contents
Vanderbilt photo identifier: SC.MSS.088.SICI.0053; Public Notes: The caption states this is from the Collection Hanfstaengl Munchen Kgl. Galerie Berlin.
Dates:
1930 - 1967
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