Renaissance Portraits
Five Early Renaissance Portraits Author(s): Rab Hatfield Source: The Art Bulletin, Vol. 47, No. 3 (Sep., 1965), pp. 315-334 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3048279 . Accessed: 19/05/2013 05:42
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
.
College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin.
http://www.jstor.org
This content downloaded from 193.188.46.75 on Sun, 19 May 2013 05:42:31 AM All use subject to JSTOR Terms and Conditions
FIVE EARLY RENAISSANCE PORTRAITS*
RAB HATFIELD the earliest surviving examples of early Renaissanceportraitureare a group of five portraitsof men in profile. The portraitof Matteo Olivieri, which is in the Mellon Collectionat the National Gallery in Washington (Fig. 9), and the portraitof his son, Michele, now in a private collection (Fig. Io), are attributedto Domenico Veneziano. Two other portraitsin the group are ascribedat presentto Masaccio:one is in the Mellon Collection at the National Gallery (Fig. i i), the other in the Isabella StewartGardnerMuseum at Boston is (Fig. 23). The last of the portraits,located in the Musee des Beaux-Artsat Chamb&ry, generally acceptedas a work by Paolo Uccello (Fig. 12). The portraitsare all examplesof a type. There is only the slightest variationamong them in The paintingsare of great interest, not only for format, in dress, and even in facial appearance. their artisticvalue, but also as historicalphenomenaof
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
.
College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin.
http://www.jstor.org
This content downloaded from 193.188.46.75 on Sun, 19 May 2013 05:42:31 AM All use subject to JSTOR Terms and Conditions
FIVE EARLY RENAISSANCE PORTRAITS*
RAB HATFIELD the earliest surviving examples of early Renaissanceportraitureare a group of five portraitsof men in profile. The portraitof Matteo Olivieri, which is in the Mellon Collectionat the National Gallery in Washington (Fig. 9), and the portraitof his son, Michele, now in a private collection (Fig. Io), are attributedto Domenico Veneziano. Two other portraitsin the group are ascribedat presentto Masaccio:one is in the Mellon Collection at the National Gallery (Fig. i i), the other in the Isabella StewartGardnerMuseum at Boston is (Fig. 23). The last of the portraits,located in the Musee des Beaux-Artsat Chamb&ry, generally acceptedas a work by Paolo Uccello (Fig. 12). The portraitsare all examplesof a type. There is only the slightest variationamong them in The paintingsare of great interest, not only for format, in dress, and even in facial appearance. their artisticvalue, but also as historicalphenomenaof