lorenzo di credi
(Florence 1549 – 1537) 

madonna and child before a landscape 

oil on panel
76.8 x 57.5 cm. (30.2 x 22.6 in.)
c. 1505

“The fine texture of her veil with Credi’s inimitable folds is a feature which the celebrated Leonardo might well have envied.”

Robert Brewer, A Study of Lorenzo di Credi, Florence, 1970, p. 74.

Lorenzo di Credi was born in Florence in 1459 as the son of a goldsmith. He was first recorded in Andrea del Verrocchio’s (c. 1435-1488) workshop in 1480, where he trained alongside Leonardo Da Vinci (1452-1519) and Pietro Perugino (1446-1523). He quickly became Verrocchio’s confidant and right-hand assistant, taking over the workshop in his master’s absences, and was Verrocchio’s heir upon his death in 1488.1 Di Credi’s produced technically outstanding paintings, meticulously detailed and with enamel-like surfaces. Even today, his works are better preserved than the works of his teacher or fellow students.2

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Di Credi remained faithful to Verrocchio’s style well into the sixteenth century and guided the workshop’s activities towards a conservative specialisation, supplying mainly portraits, altarpieces and personal devotional pieces, such as this Madonna and Child.3 Several of his patrons are known to have been devout Catholics, and some had ties with the religious movement founded by Girolamo Savonarola (1452-1498). Even though his style never evolved much, his loyal and traditional patrons allowed him to stay active and sought after until well into the 1520s. He died in 1536.4

Notes
1. Keith Christiansen, “Madonna Adoring the Child with the Infant Saint John the Baptist and an Angel”, last modified 2014, accessed August 17, 2020, https://www.metmuseum.org/art/collection/search/436909?searchField=All&sortBy=Relevance&ft=Lorenzo+di+Credi+(Lorenzo+d%27Andrea+d%27Oderigo)&offset=0&rpp=20&pos=1.
2. Gigetta Dalli Regoli, “Lorenzo di Credi”, accessed August 18, 2020, https://www.nga.gov/collection/artist-info.1181.html.
3. The J. Paul Getty Museum, “Lorenzo di Credi,” accessed August 18, 2020, https://www.getty.edu/art/collection/artists/3206/lorenzo-di-credi-lorenzo-d’andrea-d’oderigo-italian-florentine-about-1456-1536/.
4. Dalli Regoli, “Lorenzo di Credi”.

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Sir Samuel Scott, Baronet, London;
by descent to Sir E. H. Scott, Baronet, London;
his deceased sale [Sold by Order of the Trustees]; Sotheby’s, London, 21 November 1934, lot 105.
with Edward Speelman (1910-1994), London.
with Firma D. Katz, Dieren, 1936;
with Schaeffer Galleries, New York, 1936-1940, from whom acquired by;
the Wickwire Collection, New York, in 1940;
by descent in the Wickwire Collection until 2009.
Private collection, France;
The Klesch Collection.

Nijmegen, Huize Belvoir, “Tentoonstelling van 16de en 17de Eeuwsche Schilderijen en Antiquiteiten in Huize “Belvoir” te Nijmegen”, 15 July – 1 September 1936, cat. no. 15.
Toronto, Art Gallery of Ontario, “Trends in European Painting”, 1937.
San Francisco, San Francisco Museum of Art, “Old Masters Exhibition”, March 1938.
Los Angeles, Los Angeles County Museum, “Old Masters Exhibition”, April 1938.
San Francisco, California Palace of the Legion of Honor, “Seven Centuries of Painting”, 29 December 1929 – 28 January 1930, no. L-5.
Christie’s, London, “Art Adorned”, 22 November – 3 December 2019.

A. Frankfurter, “Masterpieces in the Art Market; Part I: The Old Masters,” Art News, XXXV, 19 December 1936, p. 17, colour plate on cover.
E. Strauss, “The Picture Plane and its Interpretation,” Pacific Art Review, II, no. 3 – 4 (Winter 1942 – 43), p. 9, fig. 9.
G. Dalli Regoli, Lorenzo di Credi, Cremona, 1966, pp. 59, 74, 173, cat. no. 159, fig. 211.
R. Brewer, A Study of Lorenzo di Credi, Florence, 1970, pp. 74-75.
G. Dalli Regoli, “I ‘maltrattati’ delle Vite vasariane; riflessioni e marginali risarcimenti”, Critica d’Arte, 8 ser, LXX. no. 33-34 (Jan – June 2008), pp. 29-30, fig. 37.

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