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#170: By Giulio Dalvit, Associate Curator Transcript
This Resurrection is one of the finest bronze reliefs from fifteenth­century Italy. It is also the only fully authenticated small bronze by Vecchietta and the only work securely attributed to the artist in the United States. Here, this sophisticated Sienese artist represents the Risen Christ floating in a mandorla of angel-heads over his open sepulcher. He is flanked by two adoring angels standing on rocks, while many others rejoice in the clouds behind him. Below him, the soldiers guarding the sepulcher are fast asleep, sprawled on the ground. The inscription on the sepulcher, below the figure of Christ, reads, in Latin: “The work of the painter Lorenzo di Pietro, known as Il Vecchietta, from Siena in the year 1472.” Vecchietta had an intriguing habit of signing his paintings as a sculptor and his sculptures as a painter, which signals the lack of the word “artist” for fifteenth-century craftsmen who were working across media. The original function of this relief is unclear, but it was displayed in a gallery, like a painting, when it belonged to the seventeenth-century Roman cardinal Flavio Chigi, who also owned Titian’s portrait of Pietro Aretino, also at the Frick.

The Resurrection

 (Italian, 1410–1480)
Date1472
MediumBronze
Dimensions21 3/8 x 16 1/4 in. (54.3 x 41.3 cm)
Credit LineHenry Clay Frick Bequest
Accession number1916.2.02
Commentary

The only signed work by Vecchietta held outside of Italy, this relief represents the Risen Christ floating in a mandorla of angel heads over his open sepulcher. He is flanked by two adoring angels standing on rocks, while others rejoice in the clouds behind him. Below him, the soldiers guarding the sepulcher are fast asleep, sprawled on the ground. The Latin inscription on the sepulcher reads, "the work of the painter Lorenzo di Pietro, known as Il Vecchietta, from Siena in the year 1472." The sophisticated Sienese artist had the habit of signing his paintings as a sculptor and his sculptures as a painter, thus pointing to the complex relationship between strands of his production before the modern concept of "art" came to straddle them. This relief was defined as a "head-sized picture" when it was displayed in the gallery of the seventeenth-century Roman cardinal Flavio Chigi, who also owned Titian's portrait of Pietro Aretino.

Source: The Frick Collection: Essential Guide, 2024 

Collection History

Prince Chigi, Rome. Rodolphe Kann, Paris. J. Pierpont Morgan, London and New York. Duveen. Frick, 1916.

Source: Sculpture in The Frick Collection: Italian. Volume III. New York: The Frick Collection, 1970.

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