Madonna of Humility

CC0 Public Domain Designation

Painting and Sculpture of Europe

1375–1400

Bolognese

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Bolognese
Title: Madonna of Humility
Place: Bologna (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1375–1400
Medium: Tempera on panel
Inscriptions: Inscribed: ave maria gr[at]ia (around outer edge of panel), salve regina vergene maria [gratia] plena (around mandorla), VERGENE MATRE [...] GLO (on the Virgin's halo), DEV HOMO R (on Child's halo), salve regina (on scrolls supporting repeated pelican motif on Virgin's robe)
Dimensions: 98.9 × 59.4 cm (39 × 23 3/8 in.); Framed: 113.4 × 73.1 × 9.3 cm (44 5/8 × 28 3/4 × 3 5/8 in.)
Credit Line: Charles H. and Mary F. S. Worcester Collection
Reference Number: 1947.56
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/59843/manifest.json

Art News 27, 10 (December 8, 1928), p. 1, ill.
“Famous Art Works Exhibited in Clubhouse,” Art in the Union League Club of Chicago: Union League Club Bulletin (January 1929), p. 7, ill.
Pantheon 3 (1929), pp. 102, ill, 104.
Daniel Catton Rich, “Two Trecento Venetian Panels,” Art Institute of Chicago Bulletin 24, 7 (1930), pp. 88–89, cover ill.
The University of Chicago, The Renaissance Society, Catalogue of a Loan Exhibition of Religious Art from the Fourth Century to the Present Time (1930), no. 33.
The University of Chicago, The Renaissance Society, Anniversary Bulletin (Autumn – Winter 1930), cover ill.
Lionello Venturi, Pitture italiane in America (Milan, 1931), pl. CIV.
William Suida, review of Pitture italiane in America by L. Venturi, in Belvedere 10 (1931), p. 191, pl. 104.
Millard Meiss, “The Madonna of Humility,” Art Bulletin 18 (1936), p. 441, n. 23; reprinted in Millard Meiss, Painting in Florence and Siena after the Black Death (Princeton, 1951), p. 137 n. 20.
“The Christmas Story in Art,” Art Institute of Chicago Bulletin 32, 7 (1938), p. 105.
Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture, and Drawings (Chicago, 1938), pp. viii, 6, no. 2, pl. II.
Luigi Coletti, I primitivi: I padani, vol. 3 (Novara, 1947), pp. XXXIV–XXXVI, LXXIII, pl. 66.
“The Magnificent Worcester Gift,” Art Institute of Chicago Bulletin 42 (1948), p. 5, ill.
Luigi Coletti, “Sulla Mostra della Pittura Bolognese del Trecento: Con una Coda Polemica,” Emporium 112 (1950), pp. 252–54.
William Suida, “Some Bolognese Trecento Paintings in America,” Critica d’arte 9, 1 (1950), p. 58, fig. 62.
Pietro Toesca, Il trecento (Turin, 1951), p. 751 n. 276.
Dorothy C. Shorr, The Christ Child in Devotional Images in Italy during the XIV Century (New York, 1954), pp. 61, 65, fig. 9.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 225.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 516, fig. 380.
Ferdinando Bologna, I Pittori alla Corte Angioina di Napoli, 1266–1414, e un Riesame dell’arte nell’età Fidericiana (Rome, 1969), pp. 348–349, pl. VIII-19, fig. 18.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 216, 346, 571.
Isle. Hecht, “Madonna of Humility,” Art Institute of Chicago Bulletin 70 (1976), pp. 10–13, fig. 2.
 Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 34–37, ill.
Carl Brandon Strehlke, book review of “Italian Paintings before 1600 in the Art Institute of Chicago. A Catalogue of the Collection,” Burlington Magazine 136 (1994), pp. 625–26, ill, as Carlo da Camerino.
Mojír S. Frinta, Punched Decoration on Late Medieval Panel and Miniature Painting, (Prague, 1998), pp. 132, 212, no. Fd49, as Genoese(?) and Camarinese (Carlo da Camerino(?)).
Alessandro Marchi, “Olivuccio di Ciccarello,” in Pittori a Camerino nel Quattrocento, Andrea De Marchi, ed., (Milan, 2002), pp. 104, 120, 132–33, no. 6, ill, as Olivuccio di Ciccarello.
Francesca Pasut, in The Alana Collection: Newark, Delaware, USA, Italian Paintings from the 13th to 15th Century, Miklós Boskovits et al., vol. 1 (Florence, 2009), pp. 154, 156, n. 4, as Olivuccio di Ciccarello.

Chicago, The Union League Club, 1928 (no cat.).
The University of Chicago, The Renaissance Society, Religious Art from the Fourth Century to the Present Time, 1930, no. 33, as Jacobello di Bonomo.
The Art Institute of Chicago, A Century of Progress, 1933, no. 86, as Jacobello di Bonomo (?).
The Art Institute of Chicago, The Christmas Story in Art, 1938–39 (no cat.).

Count Ambroz-Migazzy, Sarvar, Hungary [according to Daniel Catton Rich, Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture, and Drawings, 1938]. E. and A. Silberman Galleries, New York [according to receipt dated November 21, 1928, in curatorial files]; Sold by Silberman to Charles H. Worcester, Chicago, 1928, [according to receipt dated November 21, 1928, in curatorial files]; given to the Art Institute, 1947.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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