Desková malba čtrnáctého století mezi neapolským a maďarským královským dvorem : k malbám svatého Ladislava od Simone Martiniho a Krista na Kříži ze sbírky Phillips Family Collection
Source document: Convivium. 2019, vol. 6, iss. 2, pp. -97
ISSN2336-3452 (print)2336-808X (online)
License: Not specified license
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Taking as its point of departure Simone Martini's panel painting of Saint Ladislaus of Hungary (ca 1330s or early 1304s), held since the fourteenth century in Altomonte, and a panel painting of Christ on the Cross with the Virgin and John the Evangelist currently held in the Phillips Family Collection, this essay advances a hypothesis for a multipart dynastic icon commissioned by and intended for members of the Árpád or Angevin families. Elizabeth of Poland or Charles i of Hungary may have commissioned the icon for their son Andrew, endowing him with a work that served multiple purposes: tracing the Hungarian family's holy royal ancestry; demonstrating the cultural prestige of the Hungarian court; and supporting the continuation of the dynastic lines that would become intertwined by the marriage of the heirs to the Hungarian and Neapolitan thrones. This proposal thus begins to sketch a hypothetical reconstruction of a now fragmentary and partially lost object, and contributes to the larger project of assembling a corpus of panel paintings that emerged in the fourteenth century from the interconnected courts of Naples and Hungary.