Madonna and Child with Two Angels, Saint Rose, and Saint Catherine of Alexandria

late 1480s/early 1490s

Workshop of Pietro Perugino

Associated Names
Anonymous Artist

Artist

Pietro Perugino

Artist, Umbrian, c. 1450 - 1523

This painting shows a group of people. In the center is a seated woman holding a baby. The woman has pale skin and blonde hair wrapped with a sheer blue cloth, and she wears a red garment with a draped green-and-blue fabric over her lap. The child sits on her lap, looking off to the left. Surrounding them are four standing people, two of whom are standing on a low white wall behind the woman. These two people have large wings, and their hands clasped in front of their chests. The other two are on either side of the woman, one holding a long pink flower and a clear glass, and the other holding a blue book and a long green feather or quill. These four people also have pale skin and blond hair. In the distance there are green fields and blue mountains under a blue sky. The painting is an octagon, with longer sides on the left and right.

Media Options

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On View

West Building Main Floor, Gallery 20

Artwork overview

More About this Artwork

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Watch as our skilled conservator revives this 16th-century School of Perugino painting.

Artwork history & notes

Provenance

Leon Potocki [1799-1864].[1] Sir George Donaldon [1845-1925], London; sold 1907 to William A. Clark [1839-1925], New York;[2] bequest 1926 to the Corcoran Gallery of Art, Washington; acquired 2015 by the National Gallery of Art.
[1] On the reverse of the painting is a paper label depicting a crown, plumes, a coat of arms, and the name "Leon Potocki."
[2] Dana H. Carroll, Catalogue of Objects of Fine Art and Other Properties at the Home of William Andrews Clark, 962 Fifth Avenue, Part I, Unpublished manuscript, n.d. (1925): 128, no. 60. Carroll writes that the painting belonged to "Prince Sotocke," likely an incorrect rendering of Leon Potocki's name.

Associated Names

Exhibition History

2023

  • Il meglio maestro d’Italia: Perugino e il suo tempo, Galleria Nazionale dell’Umbria, Perugia, 2023, no. V.6, repro.

Bibliography

1925

  • Carroll, Dana H. Catalogue of Objects of Fine Art and Other Properties at the Home of William Andrews Clark, 962 Fifth Avenue. Part I. Unpublished manuscript, n.d. (1925): 128, no. 60.

1932

  • Berenson, Bernard. Italian Pictures of the Renaissance. Oxford, 1932: 81, as by Bernardino di Mariotto.

1936

  • Berenson, Bernard. Pitture italiane del Rinascimento. Milan, 1936: 70, as by Bernardino di Mariotto.

1969

  • Camesasca, Ettore. L’opera completa del Perugino. Milan, 1969: 93, under cat. 28.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 161, 643.

1984

  • Scarpellini, Pietro. Perugino. Milan, 1984: 81.

1997

  • Antenucci Becherer, Joseph. "Perugino in America: Masterpieces, Myths, and Mistaken Identities." In Joseph Antenucci Becherer, ed. Pietro Perugino: Master of the Italian Renaissance. Exh. cat., The Grand Rapids Art Museum, Grand Rapids, 1997: 115.

2023

  • Martelli, Cecilia. “Dopo il successo della Sistina: le opere di Perugino degli anni ottanta.” In Marco Pierini and Veruska Picchiarelli, eds. Il meglio maestro d’Italia. Perugino e il suo tempo. Exh. cat., Galleria Nazionale dell’Umbria, Perugia, 2023: 261, as possibly by Antonio da Viterbo, called Pastura.

  • Shaneyfelt, Sheri Francis. Painting in Renaissance Perugia: Perugino, Raphael, and their Circles. Cambridge, 2023: 34-36, fig. 1.16, as Attributed to Andrea d’Assisi, called Ingegno.

Wikidata ID

Q46624477

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