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These fragments originally adorned a monumental crucifix. The Blessing Christ would have appeared at the top, while Mary and John the Evangelist would have occupied the left and right ends of the cross's horizontal beam. Pietro da Rimini imitated the naturalistic figural style of Giotto, the famed Florentine painter, but also excelled at combining dazzling colors and stylized expressions for dramatic effect. The exaggerated facial features of Pietro da Rimini's figures ensured that their expressions would be comprehensible even when suspended high above the floor. In a recent innovation that demanded the worshiper's imagination, the open mouths of Mary and St. John suggest the sound of their lamentation.

Page data

Page
2
Source index
0
Type
photo
Media ID
97cd75ac19f0d86c
Size
unknown

Document data

ID
22647
Core
obj
Type
drawing
DTO data
{
    "id": "22647",
    "sourceUrl": "https://purl.thewalters.org/art/37.634",
    "contentType": "drawing",
    "stage": "normalized",
    "title": "The Blessing Christ, the Mourning Virgin, the Mourning St. John the Evangelist",
    "description": "These fragments originally adorned a monumental crucifix. The Blessing Christ would have appeared at the top, while Mary and John the Evangelist would have occupied the left and right ends of the cross's horizontal beam. Pietro da Rimini imitated the naturalistic figural style of Giotto, the famed Florentine painter, but also excelled at combining dazzling colors and stylized expressions for dramatic effect. The exaggerated facial features of Pietro da Rimini's figures ensured that their expressions would be comprehensible even when suspended high above the floor. In a recent innovation that demanded the worshiper's imagination, the open mouths of Mary and St. John suggest the sound of their lamentation.",
    "provenance": "Don Marcello Massarenti Collection, Rome [date and mode of acquisition unknown] [1881 catalogue: no. 6, 7, and 8, as Cimabue; 1897 catalogue: no. 39, as Giotto]; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest.",
    "date": "1340-1349 (Medieval)",
    "citationUrl": "https://purl.thewalters.org/art/37.634",
    "rightsUri": "CC0",
    "language": "en",
    "genreSpecific": [
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        "panel paintings",
        "fragments"
    ],
    "iiifBase": "https://art.thewalters.org/images/art/PL9_37.634_Fnt_BW.jpg",
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    "largeImageUrl": "https://art.thewalters.org/images/art/PL9_37.634_Fnt_BW.jpg",
    "imageCount": 4,
    "pageCount": 4,
    "source": "import",
    "dimensions": [
        {
            "units": "cm",
            "width": 45.3,
            "height": 41.2,
            "depth": 3.8
        }
    ],
    "dimensionsRaw": "Christ painted surface H: 17 13/16 x W: 16 1/4 x D: 1 1/2 in. (45.3 x 41.2 x 3.8 cm); The Virgin painted surface H: 17 3/16 x W: 15 3/4 x D: 1 1/4 in. (43.7 x 40 x 3.2 cm); St. John painted surface H: 17 7/8 x W: 15 13/16 x D: 1 1/2 in. (45.4 x 40.2 x 3.8 cm)Overall: 17 13/16 x 16 3/16 in. (45.24 x 41.12 cm)",
    "style": "Gothic"
}

Context sent to Scholar

Document identity
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    "localId": "22647",
    "label": "The Blessing Christ, the Mourning Virgin, the Mourning St. John the Evangelist",
    "core": "obj",
    "dtoType": "drawing",
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Document source metadata
{
    "id": "22647",
    "sourceUrl": "https://purl.thewalters.org/art/37.634",
    "contentType": "drawing",
    "stage": "normalized",
    "title": "The Blessing Christ, the Mourning Virgin, the Mourning St. John the Evangelist",
    "description": "These fragments originally adorned a monumental crucifix. The Blessing Christ would have appeared at the top, while Mary and John the Evangelist would have occupied the left and right ends of the cross's horizontal beam. Pietro da Rimini imitated the naturalistic figural style of Giotto, the famed Florentine painter, but also excelled at combining dazzling colors and stylized expressions for dramatic effect. The exaggerated facial features of Pietro da Rimini's figures ensured that their expressions would be comprehensible even when suspended high above the floor. In a recent innovation that demanded the worshiper's imagination, the open mouths of Mary and St. John suggest the sound of their lamentation.",
    "provenance": "Don Marcello Massarenti Collection, Rome [date and mode of acquisition unknown] [1881 catalogue: no. 6, 7, and 8, as Cimabue; 1897 catalogue: no. 39, as Giotto]; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest.",
    "date": "1340-1349 (Medieval)",
    "citationUrl": "https://purl.thewalters.org/art/37.634",
    "rightsUri": "CC0",
    "language": "en",
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        "Painting & Drawing",
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    ],
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    "largeImageUrl": "https://art.thewalters.org/images/art/PL9_37.634_Fnt_BW.jpg",
    "imageCount": 4,
    "pageCount": 4,
    "source": "import",
    "dimensions": [
        {
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            "depth": 3.8
        }
    ],
    "dimensionsRaw": "Christ painted surface H: 17 13/16 x W: 16 1/4 x D: 1 1/2 in. (45.3 x 41.2 x 3.8 cm); The Virgin painted surface H: 17 3/16 x W: 15 3/4 x D: 1 1/4 in. (43.7 x 40 x 3.2 cm); St. John painted surface H: 17 7/8 x W: 15 13/16 x D: 1 1/2 in. (45.4 x 40.2 x 3.8 cm)Overall: 17 13/16 x 16 3/16 in. (45.24 x 41.12 cm)",
    "style": "Gothic"
}
Document source extras
{
    "med": "tempera and gold leaf on panel",
    "creator_ids": [
        "5557"
    ],
    "collection_ids": [
        "MED"
    ],
    "exhibition_ids": []
}
Page context
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