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European Art
Photo credit: Yale University Art Gallery
Artist: Neroccio de’ Landi, Italian, 1447–1500
The Annunciation
ca. 1480
Tempera on panel
49 × 128.5 × 3.9 cm (19 5/16 × 50 9/16 × 1 9/16 in.)
sight in frame (Framed): 66.04 × 147.32 × 8.26 cm(26 × 58 × 3 1/4 in.)
sight in frame (Framed): 66.04 × 147.32 × 8.26 cm(26 × 58 × 3 1/4 in.)
University Purchase from James Jackson Jarves
1871.63
Neroccio de’ Landi, who was an accomplished sculptor as well as a painter, is best known for the elegance and grace of his renderings of the Virgin, saints, and angels, which made him one of the most admired and sought-after painters among late nineteenth- and early twentieth-century collectors of Italian Renaissance art. A half-moon-shaped panel such as this, known as a lunette, was intended to adorn the upper register of a large altarpiece. The rest of the structure from which this imposing and justly famous panel derives has not yet been identified.
Geography:
Made in Siena, Italy
Status:
On view
Culture:
Italian, Siena
Period:
15th century
Classification:
Paintings
Provenance:
James Jackson Jarves Collection, Florence (possibly the painting attributed to Pollaiuolo purchased from private collection, securing the painting only after Jarves "bought all in the room (44 in all)" as demanded by the owner).
Bibliography:
Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 301, fig. 12.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 599.
Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 48, 53, fig. 43.
Clay M. Dean, A Selection of Early Italian Paintings from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2003), 13, 38–39, no. 12.
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 such records is ongoing.
