Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)
ANNA EÖRSI: "...there is One Among You Whom You Do Not Recognise": Some Golden Threads to Miklós Boskovits with Reference to Duccio's Saint John the Baptist
NOT HS 1 V. M. Schmidt, "A Duccesque Painting Representing Saint John the Baptist Bearing Witness in the Museum of Fine Arts," Bulletin du Musée Hongrois des Beaux-Arts 96 (2002), 51-66. On the painting, see A. Pigler, Katalog der Galerie alter Meister, Budapest, 1967, 197 (School of Duccio); Museum of Fine Arts Budapest. Old Masters' Gallery. A Summary Catalogue of Italian, French, Spanish and Greek Paintings, ed. V. Tátrai, London and Budapest 1991, 35 (ascribed to Duccio di Buoninsegna). M. Boskovits, "Recension: James H. Stubblebine, Duccio di Buoninsegna and His School, Princeton, 1979 and John White, Duccio. Tuscan Art and the Medieval Workshop, London, 1979," The Art Bulletin 64 (1982), 496-502; M. Boskovits, The ThyssenBornemisza Collection. Early Italian Painting 1290-1470, London 1990, 76. Schmidt 2002, 53 and 58. In the author's opinion, the painting was executed in Ugolino di Nerio's workshop and is the only extant predella painting of an altarpiece dedicated to Saint John the Baptist. On 5 May 2007 András Fáy made an infrared reflectographic and a microscopic examination of the painting. Here 1 would like to express my thanks to him. 4 K. Onasch, Liturgie und Kunst der Ostkirche in Stichworten, Leipzig 1981, 77; P. Hills, The Light of Early Italian Painting, New Haven and London 1987, 25-28; R. S. Nelson, Illumination, in The Oxford Dictionary of Byzantium, ed. A. P. Kazhdan, New York 1991, vol. 2, 986; R. Baxter, "Chrysography," in Grove Art Online, Oxford University Press (2006), http://www.groveart.com. On the technique see D.V.Thompson, The Materials and Techniques of Medieval Painting, Dover 1956, 198-203. • E. H. Gombrich, "The Heritage of Apelles," in The Heritage of Apelles. Studies in the Art of the Renaissance 11, London 1976, 3-18. 6 V. Lasareff, "Early Italo-Byzantine Painting in Sicily," The Burlington Magazine 63 (1933), 283-84; O. Demus, "Zwei konstantinopler Marienikonen des 13. Jahrhunderts," Jahrbuch der Osterreichischen Byzantinischen Gesellschaft 7 (1958), 87-104; J. Stubblebine, "Two Byzantine Madonnas from Calahorra, Spain," The Art Bulletin 48 (1966), 379; J. Polzer, "Some Byzantine and Byzantinising Madonnas painted during the later Middle Ages," Part I, Arte cristiana 791 (1999), 83-90. J. White, Duccio. Tuscan Art and the Medieval Workshop, London 1979, 23-24; H. Belting, "The 'Byzantine' Madonnas. New Facts about Their Italian Origin and Some Observation on Duccio," Studies in the History of Art 12 (1982) 18-22; H. Belting, Likeness and Presence: Image before the Era of Art (1990), Chicago and London 1994, 370-76; M . B. Hall, Color and Meaning. Practice and Theory in Renaissance Painting, Cambridge 1992, 34-35; Polzer 1999, 86; L. Bellosi in Duccio. Alle origini della pittura senese, a cura di A. Bagnoli, R. Bartalini, L. Bellosi, and M. Laclotte, Milan 2003, 148 and 154. On Duccio's masterly handling of gold as ifit were a multi-toned colour see F. Deuchler, "Duccio.
