The Crucifixion Artist: Lorenzo Monaco (Italian, Florence, ca. 1365/70–1424/25)

ca. 1415–20

European Art

Not on view


Tempera and gold on poplar


63.5 × 37.2 × 0.7 cm (25 × 14 5/8 × 1/4 in.)

Credit Line

University Purchase from James Jackson Jarves

Accession Number



15th century


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.



James Jackson Jarves Collection, Florence, to 1871; Yale University Art Gallery, New Haven, Conn.
  • Clay M. Dean, A Selection of Early Italian Paintings from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2003), 26–27, no. 6.
  • Clay M. Dean, Selection of Early Italian Paintings from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2003), 26–27, no. 6, (Lorenzo Monaco, ca. 1415–20).
  • Ulrich Thieme, Felix Becker, and Wilhelm Suida, Allgemeines Lexikon der bildenden Künstler (Leipzig, Germany: E. A. Seemann, 1999), 392, Lorenzo Monaco; Vol. XXIII.
  • Marvin Eisenberg, Lorenzo Monaco (Princeton, New Jersey: Princeton University Press, 1989), 79, 127, 143, 149, fig. 174.
  • Miklos Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370-1400 (Florence, Italy: Edam, 1975), 350, Lorenzo Monaco, 1400-1405.
  • Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 111, 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), 163–64, no. 116, fig. 116.
  • Bernard Berenson, Italian Pictures of the Renaissance: a list of the principal artists and their works, with an index of places, 1 (New York; Greenwich, Conn.: Phaidon, 1963), 120, Lorenzo Monaco.
  • Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 294, fig. 11.
  • "Picture Book Number One," Bulletin of the Associates in Fine Arts at Yale University 15, nos.1–3 (October 1946): fig. 7.
  • Landscape: an exhibition of paintings, November 8, 1945-January 1, 1946, exh. cat. (Brooklyn, New York: Brooklyn Institute of Arts and Sciences, 1945), 13, no. 1 (Lorenzo Monaco).
  • Georg Pudelko, "The Stylistic Development of Lorenzo Monaco-I," The Burlington Magazine 73 (December 1938): 248, note 35 (Lorenzo Monaco or workshop, ca. 1415-1420).
  • Lionello Venturi, Italian Paintings in America, 1 (New York: E. Weyhe, Inc., 1933), pl. 135 (Lorenzo Monaco, ca. 1412-1415).
  • 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), 300, Lorenzo Monaco.
  • Lionello Venturi, Pitture Italiane in America, 2 (Milan, Italy: Libreria Antiquaria Hoepli, 1931), Pl. CXLII (Lorenzo Monaco).
  • Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 5, 21–22, (Lorenzo Monaco), fig. 12.
  • Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols. (The Hague: M. Nijhoff, 1923–38), vol. 9, pp. 147–48.
  • Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 67–69, no. 24, (Lorenzo Monaco), fig. 24.
  • Adolfo Venturi, Storia dell'arte Italiana, 7 (Milan: Libreria Antiquaria Hoepli, 1914), 14–15, VII, I (Lorenzo Monaco).
  • Bernard Berenson, The Florentine painters of the Renaissance, with an index to their works (New York, London: G.P. Putnam's Sons, 1909), 153.
  • Osvald Sirén, "Trecento Pictures in American Collections-III," Burlington Magazine 14 (1908-1909): 325, pl. I/1 (Lorenzo Monaco).
  • Osvald Sirén, Don Lorenzo Monaco (Strasbourg, Germany: Heitz, 1905), 91, 102, 142, 189, pl. XXXIV (as Lorenzo Monaco).
  • 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 of Wellesley College, 1905), 8, no. 18.
  • F. Mason Perkins, "Pitture Senesi negli Stati Uniti," Rassegna d'arte senese 1, no. 2 (1905): 76, school of Bartolo di Maestro 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): 140, no. 18 (later than Giotto).
  • W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 14, lot 18 (Giotto).
  • Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 33, no. 18.
  • 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 and Co., 1860), 43, no. 17.
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Object/Work type

religious art



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