Is this Madonna "The Virgin Reading" actually painted by Antonello da Messina?
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The challenge
Problem description
”The Virgin Reading” is a piece of art attributed to Antonello da Messina, a significant Sicilian artist of the 15th century. Antonello, renowned for his proficiency in oil glazing—a technique reputedly learned from Jan van Eyck—played a crucial role in introducing this style to Italian art. His influence extended to the art of Giovanni Bellini and late 15th-century Venetian painting.
The painting’s early attribution to Antonello and its time in the Mino Forti collection in Venice underscore its historical and artistic value, though its definitive authorship remains a subject of academic debate.
OUR ANALYSIS
Studying the bibliography
In the analysis of ”The Virgin Reading” from the Forti collection, a painting previously attributed to Antonello da Messina, an intriguing discovery was made. Advanced infrared imaging revealed the existence of a completely different drawing beneath the surface[4]. The underlying depiction, diverging sharply from the final one, outlines the figure of Saint Michael the Archangel. His sword is positioned in such a way that it aligns with the current position of the Virgin’s nose in the final painting. This angelic figure is observed by another character to his right, and both are set against a background of distinctive Gothic arches with three pointed openings, the smaller ones adorned with trefoil reliefs in a triangular form.
Evidence suggests that this initial version was only partially brought to life through paint, a conclusion derived from the correlation between the infrared images and the radiograph. While infrared radiation can’t penetrate the black pigments of the background, it does reveal an underlying depiction that aligns with the color fields of the final painting. Conversely, the radiograph exposes only the detailed painted parts of the initial version, specifically those crafted with radiopaque pigments like lead white, but doesn’t capture the drawing itself.
It seems that this hidden layer remained in a sketch-like state until the panel was repurposed for the final depiction of ”The Virgin Reading”. The similarity in intensity and style between this preliminary sketch and the final painting suggests that they are both works of the same artist. The artist is conjectured to be a Valencian painter active around 1470, given the particular interests in perspective demonstrated in the underlying depiction of Saint Michael, notably his perspective-adjusted halo.
CONCLUSION
The study of the ”Virgin Reading” painting from the Forti collection offers an intriguing exploration into the artwork’s attribution and its place within the domain of art history. Despite the preliminary attribution to Antonello da Messina, the nuanced findings that modern scientific methods like infrared and x-ray imaging have unveiled invite new avenues of interpretation and comprehension. The primary discoveries can be encapsulated as follows:
1. The infrared investigation revealed an underlying sketch of Saint Michael the Archangel beneath the Virgin’s depiction. This finding points towards the canvas’s reutilization, a common practice in the 15th century. The sketch demonstrates an advanced grasp of perspective and technique.
2. The study of the painting’s authenticity, alongside the arguments supporting and opposing its attribution to Antonello da Messina, indicated a realm of debate and uncertainty around the painting’s actual creator. Despite the clear elements echoing Antonello da Messina’s style, the findings suggest the possibility of another artist’s involvement, perhaps a Valencian painter active around 1470.
3. When compared with other works attributed to Antonello da Messina, notable resemblances were found with the Salting Madonna, the Virgin Reading in Baltimore, and the Madonna Advocata. Each of these artworks, however, carries its own degree of uncertainty regarding attribution.
4. The painting style, techniques, and themes present in the artwork reflect a complex interplay between Flemish influences and the artist’s distinct spirit of experimentation, thus providing valuable insight into the artistic environment of the period.
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