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©
Colección Thyssen-Bornemisza, on loan with the Museu Nacional d'Art de Catalunya (MNAC)
Lorenzo Monaco

The Virgin and Child enthroned with six Angels

ca. 1415 - 1420
Tempera and gold on panel.
147 x 82 cm
Colección Thyssen-Bornemisza, on deposit with the Museu Nacional d'Art de Catalunya (MNAC)
Inv. no.
227
(
1981.73
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
This panel, which was in the Rudolf Heinemann collection, entered the Thyssen-Bornemisza collection at the Villa Favorita in 1981. Recorded in a Florentine collection in 1887, it then passed through various private collections in Scotland and London.

Miklós Boskovits dated the panel to around 1415–20 and considered that, given its dimensions and subject matter, it would have been the central panel of an ensemble similar to the altarpiece from Monte Oliveto in the Galleria dell’Accademia in Florence, or the one in the Pinacoteca in Empori, both altarpieces whose central subject is the Virgin and Child with pairs of saints on either side. Boskovits suggested that the present panel might have been accompanied on the left by a Saint Francis(Serristori collection) and a small panel in the Narodowe museum, Poznan (Poland) of The Adoration of the Magi, which might have been the central panel of the predella. The attribution of the present panel to Lorenzo Monaco was made by Roberto Longhi in a private communication of 1956, and this attribution has been retained since that date. In 1958 the painting was the subject of an article (with illustration) in The Connoisseurthat brought it to the attention of other experts.

Lorenzo Monaco, whose real name was Piero di Giovanni before he entered the Camaldolese order in 1391, was one of the leading representatives of the late Gothic style in Florence. This panel, which Longhi described as “a typical work by the artist”, combines some of the features that brought Lorenzo fame as a painter. Among them are the use and combination of the colours and the soft lines that create the forms of the figures, features that are evident here in the salmon pink tones of the tunics of the two angels carrying the incense burners, the pink of Christ’s clothing and the yellow and purple of the Virgin’s garments: all bright, lively colours applied in a soft but contrasting range of shades. The Virgin, seated on a throne whose arms emphasise the pictorial depth of the scene, is slim and elegant, as are the angels on either side. Also typical of Lorenzo Monaco are the decorative elements on the clothes and other objects as well as the somewhat illogical lines that define the folds of the draperies. The curious pose of the angel on the right, half hidden behind the throne and peeping out, is inspired, according to Marvin Eisenberg by the figure of one of the monks in The Burial of Saint Francis in the Pallavicini Gallery in Rome.

The panel is in its original frame although this has been subject to modern alterations in the lower section, the lateral pilasters and the decoration of the upper section.

Mar Borobia
15th Century15th Century - Italian paintingPaintingTempera and goldpanel
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The Virgin and Child enthroned with six Angels.Lorenzo Monaco (Piero di Giovanni)
The Virgin and Child enthroned with six Angels
Lorenzo Monaco

©

Colección Thyssen-Bornemisza, on loan with the Museu Nacional d'Art de Catalunya (MNAC)

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The Virgin and Child enthroned with six Angels.Lorenzo Monaco (Piero di Giovanni)
The Virgin and Child enthroned with six Angels
Lorenzo Monaco

©

Colección Thyssen-Bornemisza, on loan with the Museu Nacional d'Art de Catalunya (MNAC)

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