Pentecost Triptych. Le Pentecoste is a tempera and gold painting on wood by Andrea Orcagna and his brother Jacopo di Cione, datable to about 1362-1365 and kept in the Accademia Gallery in Florence.
The work is probably the one that Vasari saw on the main altar of the church of the Santi Apostoli in Florence, and was then removed shortly thereafter, with the modernization work on the church of Giovanni Antonio Dosio, finding a place in the Viviani Chapel. In an unspecified period, perhaps in the eighteenth century, it was brought to the Badia Fiorentina, and from there to the Academy in 1939.
As for the attribution, Vasari believed that it was by Spinello Aretino, as is also reported in the guides of the following centuries. In the nineteenth century a more prudent attribution to the Giotto school prevailed and only with the investigations of Crowe and Cavalcaselle the work was assigned in doubt to Andrea Orcagna, and subsequently to Andrea with the collaboration of his brother Jacopo di Cione.
Subsequent criticism essentially confirmed this attribution, with some voices out of the chorus, such as Sandberg Vavalà who attributed it to Jacopo alone, or Offner who spoke of an assistant from Orcagna called "Maestro della Pentecoste". The most recent studies today tend to assign the painting to Andrea's autograph hand, also representing one of the most typical works, albeit with possible help from his
The work is probably the one that Vasari saw on the main altar of the church of the Santi Apostoli in Florence, and was then removed shortly thereafter, with the modernization work on the church of Giovanni Antonio Dosio, finding a place in the Viviani Chapel. In an unspecified period, perhaps in the eighteenth century, it was brought to the Badia Fiorentina, and from there to the Academy in 1939.
As for the attribution, Vasari believed that it was by Spinello Aretino, as is also reported in the guides of the following centuries. In the nineteenth century a more prudent attribution to the Giotto school prevailed and only with the investigations of Crowe and Cavalcaselle the work was assigned in doubt to Andrea Orcagna, and subsequently to Andrea with the collaboration of his brother Jacopo di Cione.
Subsequent criticism essentially confirmed this attribution, with some voices out of the chorus, such as Sandberg Vavalà who attributed it to Jacopo alone, or Offner who spoke of an assistant from Orcagna called "Maestro della Pentecoste". The most recent studies today tend to assign the painting to Andrea's autograph hand, also representing one of the most typical works, albeit with possible help from his
Wikipedia ...