Abstract
At Rimini we find an artistic centre in which the 13th century tradition persisted for a considerable time, and from which the painting in other centres of Emilia depend.
O. Sirén Giuliano, Pietro and Giovanni da Rimini, The Burlington Magazine, 1916, p. 272.R. van Marle, La scuola di Pietro Cavallini a Rimini, Boll. d’Arte del Minist. della Pubbl.Istr., Dec.1921. In the attributions I make, and in my ideas of the origin of this group of painters, I so frequently hold the contrary opinion to Mr. Siren that it seems useless to indicate each point of difference. According to him the entire current derives from Giotto’s art and Pietro da Rimini is the principal artist.
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References
This picture belonged to the Stroganoff collection (v. L’Arte, 1914, p. 264) and was shown at the exhibition of Sienese art in London where it was described as a work from the hand of a Sienese pupil of Giotto’s.
In the old catalogue it was attributed to Cavallini but is now ascribed to the Roman school. Signor A. Venturi believes it to be a work of Cavallini’s old age. Mr. Berenson was formerly of the opinion that it was a youthful work of Giotto’s. O. Sirén,L’Arte, IX, 1906, p. 327, gives it to a Romagnole follower of Giotto’s.
L. Tonini,Rimini nella signoria de’ Malatesti, IV, Rimini, 0880. A. Brach,Giotto’s Schule in der Romagna, Strasbourg, 1902, p. 74.
S. Bernicoli,Arte e artisti in Ravenna, Felix Ravenna, Jan. 1912.
O. Sirén,A descriptive catalogue of the pictures in the Jarves Collection etc., Newhaven, London, Oxford, 1916, p. 29, ascribes it to a Romagnole follower of Giotto.
A. Brach,op. cit., p. 63 and passim. O. Siren,Burlington Magazine, XXIX, 1916, p. 272. Thieme-Becker,Künstler-Lexikon, XIV, p. 213.
L. Tonini,op. cit. IV, p. 390. A painter of Urbino of the same name is mentioned in 1366 and 1367.
These documents have been published by Balduzzi,Dei dipinti murali nella Pieve di Bagnocavallo, Atti e momorie delle R.R. Deputazione di Stor. Patr. per l’Emilia, Nuov. Ser., II, 1877 (Brach,op. cit., p. 77).
Brach,op. cit., p. 1. C. W. Goetz,Ravenna, Leipz. Berlin, 1901, p. izo. C. Ricci,Guida di Ravenna, 5th ed., Bologna, 1914, p. 148, attributes them to the Romagnole school.
C. Ricci,L’ultimo refugio di Dante, Milano, 1891, p. 287. The Same,Ravenna, Bergamo, 1909, p. 40. The Same,Guida di Ravenna, p. 151. Goetz,op. cit., p. 115. P. D. Pasolini,Ravenna e le sue grandi memorie, Roma, 1912, p. 117.
G. Gerola, Ancora sugli affreschi danteschi scoperti in S. Francesco, Ravenna, 1920. Santi Muratori, La chiesa dei funerali di Dante, San Francesco di Ravenna, Rassegna d’Arte, 1921, p. 298. Bolletino d’Arte del Minist. della Pubbl. Instr., 1922, p. 337.
Atti e Mem. della R. Dep. di Stor. Patr. p. la Romagna, VII, 1868. L. Tonini, op. cit, IV, p. 131. Brach, op. cit., p. 83.
Calzini, Degli affreschi recentemente scoperti a Fano, L’Arte, 1907, p. 153. L. Venturi, L’Arte, 1915, p. 11.
H. Thode,Pittura di scuole italiane nelle gallerie minore di Germania, Arch. Stor. dell’ Arte, II, 1889, p. 51, ascribed to Giuliano da Rimini or to Baronzio two little panels showing eight scenes from the Passion in the Cologne Museum (nos. 756 and 757) where they are no longer to be found. Suida,L’Arte, 4907, p. 182, attributed to the Romagnole school a Madonna and saints in the Museum of Budapest; I do not think the work belongs to this artistic movement and sooner ascribe it to the school of the Master of St. Cicely, v. Vol. III, p. 293.
One in the Johnson collection, Philadelphia, the other in a private collection v. Vol. I, pp. 505, 540 and R. van Mark, La peinture romaine au Moyen-Age, Strasbourg, 1021, pls. LX and LIX.
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Van Marle, R. (1924). The Painters of Rimini. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-3437-6_4
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