The Assumption of the Virgin Artist: Luca di Tommè (Siena, documented 1356–89)

1362

European Art

On view, 2nd floor, European Art
Medium

Tempera and gold on panel

Dimensions

49 5/16 × 24 7/16 in. (125.3 × 62.1 cm)
picture surface: 32 1/16 × 23 5/8 in. (81.5 × 60 cm)

Credit Line

University Purchase from James Jackson Jarves

Accession Number

1871.12

Culture
Period

14th century

Classification
Disclaimer

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of records is ongoing.

Provenance

Provenance

Oratorio dal Pedere Gazzaja, Arezzo, environs, until 1818 (removed from an altar by permission of the Bishop of Arezzo to the private chapel of the noble family in Siena who owned it); James Jackson Jarves Collection, New York, in 1860.
Bibliography
  • Giulietta Chelazzi Dini, Alessandro Angelini, and Bernardina Sani, Pittura senese (Milan, Italy: Federico Motta, 2002), 1871, Luca di Tommè
  • Pia Palladino, Art and Devotion in Siena after 1350: Luca di Tommè and Niccolò di Buonaccorso (San Diego, Calif.: Timken Museum of Art, 1997), 34–35, Luca di Tommè; from an altarpiece c. 1362, possibly the one from San Tommaso degli Umiliati, and possibly also including a series of five heads of prophets in the Rijksmuseum, Utrecht, and formerly in a private collection, Florence, fig. 25
  • Elise K. Kenney, ed., Handbook of the Collections: Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 1992), 133
  • Henk van Os, Sienese altarpieces, 1215-1460: form, content, function (Groningen, Netherlands: Bouma's Boekhuis, 1990), 46–47, fig. 18
  • Sherwood A. Fehm, Jr., Luca di Tommè: A Sienese Fourteenth-Century Painter (Carbondale, Ill.: Southern Illinois University Press, 1986), 1, 26–30, 85–88, fig. 15
  • Bruce Cole, Sienese Painting from Its Origins to the Fifteenth Century (New York: Harper & Row, 1980), 191–192, 195, fig. 101 (Luca di Tommè, with strong influence of Niccolò di Ser Sozzo), fig. 101
  • Cristina de Benedictis, La pittura senese, 1330–1370 (Florence: Salimbeni, 1979), 47–48, 88, fig. 89
  • Sherwood A. Fehm, Jr., "Luca di Tommè’s Influence on Three Sienese Masters: The Master of the Magdalene Legend, the Master of the Panzano Triptych, and the Master of the Pietà," Mitteilungen des Kunsthistorischen Institutes in Florenz 20 (1976), 333, fig. 2
  • Charles Seymour Jr., Daniel L. Arnheim, and Gloria Kury Keach, Italian Primitives: The Case History of a Collection and Its Conservation (New Haven, Conn.: Yale University Art Gallery, 1972), 13, no. 4, (Luca di Tommè), fig. 4a–b
  • Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 113, 307, 599
  • Charles Seymour Jr., Early Italian Paintings in the Yale University Art Gallery: A Catalogue by Charles Seymour, Jr. (New Haven, Conn.: Yale University Press, 1970), 78–80, fig. 53
  • Henk van Os, Marias Demut und Verherrlichung in der sienesischen Malerei 1300-1450's (Gravenhage, Netherlands: Ministerie van Cultuur, Recreatie en Maatschappelijk Werk and Staatsdrukkerij- en Uitgeverijbedrijf, 1969), 166, 170, fig. 56, 65
  • Agnes Morgan and Elizabeth Morgan, European Paintings in the Timken Art Gallery (San Diego, Calif.: Putnam Foundation, 1969), 22
  • Sherwood A. Fehm, Jr., "Notes on the Exhibition of Sienese Paintings from Dutch Collections," Burlington Magazine 111 (September 1969), 574
  • Bernard Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places, 3 (London: Phaidon Press, 1968), vol. 1, 225; vol.2, pl. 368
  • M. Rotili, La miniature gotica in Italia, 2 (Naples, Italy: Libreria scientifica editrice, 1968-1969), 17
  • Brigitte Klesse, Seidenstoff in der italienischen Malerei des vierzehnten Jahrhunderts (Bern, Switzerland: Stampfli, 1967), 259, 259, no. 151k and 407, no. 394e (Niccolò di Ser Sozzo Tegliacci and Luca di Tommè), fig. 151k, 394e, 407
  • Mario Bucci, "Proposte per Niccolò di ser Sozzo Tegliacci," Paragone 16 (March 1965), 59–60, fig. 2
  • Gianna Dalli Regoli, Miniatura Pisana del Trecento (Vicenza, Italy: N. Pozza, 1963), 56
  • Millard Meiss, "Notes on Three Linked Sienese Styles," Art Bulletin 45 (March 1963), 47–48, fig. 7
  • Enzo Carli, Pittura italiana (Milan: A. Martello, 1961), 20
  • Federico Zeri, "Un pittore di Narni del 1409," Paragone 9 (1958), 9, 9 (as Luca di Tommè)
  • F. Mazzini, "Resti di un ciclo senese trecentesco in S. Domenico d'Urbino," Bolletino d'Arte 37 (1952), 65–66
  • Pietro Toesca, Il Trecento, 2 (Turin, Italy: Verlag Nicht Ermittelbar, 1951), 594–597, fig. 525
  • Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 297, fig. 6
  • Millard Meiss, Painting in Florence and Siena after the Black Death (Princeton, N.J.: Princeton University Press, 1951), 21–24, (Luca di Tommè)
  • Helen Comstock, "The Yale Collection of Italian Paintings," The Connoisseur 118 (September 1946), 50
  • Bernard Berenson, Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere, con un indice dei luoghi (Milan, Italy: Libreria Antiquaria Hoepli, 1936), 269, (Luca di Tommè)
  • Raimond van Marle, Le Scuole della pittura italiana, 2 (The Hague: Martinus Nijhoff, 1934), 12
  • George Harold Edgell, A History of Sienese Painting (New York: Dial Press, Inc., 1932), 157, (Luca di Tommè), fig. 191
  • Bernard Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works, with an Index of Places (Oxford: Clarendon Press, 1932), 313, (Luca di Tommè)
  • Associates in Fine Arts, Yale University, "Handbook: A Description of the Gallery of Fine Arts and the Collections," Bulletin of the Associates in Fine Arts at Yale University 5, nos. 1–3 (1931), 28, ill
  • Raimond van Marle, "Ancora quadri senesi," La Diana 6 (1931), 170, 170, Luca di Tommè
  • Lionello Venturi, Pitture Italiane in America, 2 (Milan, Italy: Libreria Antiquaria Hoepli, 1931), pl. 84, fig. 84
  • Helen Comstock, "Luca di Tommè in American Collections," International Studio 89 (January 1928), 58–59
  • Emilio Cecchi, Les peintres siennois (Trecentisti senesi) (Paris: G. Crès, 1928), 148, fig. 223
  • Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 4–5, 38–39, (Luca di Tommè), fig. 29–29a
  • Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols. (The Hague: M. Nijhoff, 1923–38), vol. 2, p. 481, fig. 313
  • Frank Jewett Mather Jr., A History of Italian Painting (London: Stanley Paul & Co., Ltd., 1923), 85–86, 85–86, fig. 54 (Luca di Tommè, "may be as late as 1370, repeats loyally the formulas which Pietro Lorenzetti invented fifty years earlier."), fig. 54
  • Ernest T. DeWald, "The Master of the Ovile Madonna," Art Studies 1 (1923), 54, fig. 24
  • F. Mason Perkins, "Some Sienese Pictures in American Collections, Part Two," Art in America 8 (1920), 288
  • Raimond van Marle, Simone Martini et les peintres de son école (Strasbourg, France: J. H. E. Heitz, 1920), 144–145
  • Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 37–38, (Luca di Tommè), fig. 12
  • Frank Jewett Mather Jr., "The Jarves Collection," Yale Alumni Weekly 23 (1914), 967, follower of Lorenzetti about 1350
  • F. Mason Perkins, "Alcuni dipinti italiani in America," Rassegna d'Arte 9 (1909), 145, 145 (as Luca di Tommè)
  • William Rankin, Notes on the Collections of Old Masters at Yale University, the Boston Museum of Fine Arts, the Fogg Museum of Harvard University (Wellesley, Mass.: Department of Art, Wellesley College, 1905), 9, no. 35, fig. 35
  • F. Mason Perkins, "Pitture Senesi negli Stati Uniti," Rassegna d'arte senese 1, no. 2 (1905), 76, 76 (Bartolo di Fredi);
  • William Rankin, "Some Early Italian Pictures in the Jarves Collection of the Yale School of Fine Arts at New Haven," American Journal of Archaeology 10 (April-June 1895), 142–143, "earliest example of Sienese painting in the Jarves collection", "very characteristic of the symmetry and graceful affectation of the lesser XIV century craftsman," later than Lorenzetti)
  • W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 16, lot 35 (as Sienese school, ca. 1350, "but by one of their best Artists")
  • Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale College, 1868), 40–41, no. 35, fig. 35
  • James Jackson Jarves, Descriptive Catalogue of "Old Masters," Collected by James J. Jarves, to Illustrate the History of Painting from A.D. 1200 to the Best Periods of Italian Art (Cambridge, Mass.: H. O. Houghton, 1860), 46–47, no. 40, fig. 40
Object copyright
Additional information

Object/Work type

religious art

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