The EPMA’s European collection ranges from the thirteenth to the eighteenth century. The core of the European holdings is the Kress Collection, an outstanding group of fifty-seven tempera and oil paintings and two marble sculptures. The Kress Collection includes a thirteenth-century Byzantine Madonna, several outstanding Baroque pictures, and significant paintings of the 18th century. The gift of this extraordinary collection came from the Samuel H. Kress Foundation, which in turn laid the foundation for the establishment of EPMA. The Kress Collection has fostered continued donations which have added to the European, Mexican, American, and Contemporary collections through the years.
Predominantly Italian in origin, the Kress Renaissance paintings include altarpieces as well as portraits and mythological subjects by masters such as Filippino Lippi, Benedetto Bonfigli, Sano di Pietro, and Lorenzo Lotto. Works from the later periods of the Baroque and Rococo are more internationally diverse, including significant pieces by the Spanish Golden Age masters Jusepe de Ribera, Francisco de Zurbarán, and Bartolomé Esteban Murillo, and the French portraitists Hyacinthe Rigaud and Alexis-Simon Belle. Apart from the central Kress Collection, EPMA’s European holdings include numerous Old Master and modern works on paper.
The European galleries will close on February 19, 2018 to facilitate a complete reinstallation of the Kress Collection of European Art. The newly renovated galleries will reopen on May 3, 2018. For special requests regarding works from the Kress Collection, please contact EPMAfirstname.lastname@example.org.What's Happening
If this painting, attributed to Ambrogio Lorenzetti, is one of the artist’s rare pictures located outside of Italy. Lorenzetti is viewed as one of the most influential Italian artists of the 1300s, and was a leading figure in Siena’s dominance of Italian art during that time.
The Sienese loved the stunningly rich and detailed depiction of embroidery on the Madonna’s gown and veil. It also reveals the use of red earth as a base for the gilding that we see in tempera paintings from the 1100s to the 1400s. In this painting, the gold leaf has worn off and we can see the red underneath. Finally, and perhaps most significantly, the composition in which the Madonna’s cheek touches the Christ Child’s shows the increasing interest in the human emotions of holy figures.