NUZI, Allegretto - b. ~1318 Fabriano, d. ~1373 Fabriano - WGA

NUZI, Allegretto

(b. ~1318 Fabriano, d. ~1373 Fabriano)

Italian painter. He came from Fabriano in the Marches. His first signed and dated work is a Maestà from 1345 (Stonyhurst College). He is documented in the painters’ confraternity of St Luke in Florence in 1346, where he is described as ‘de Senis’, indicating a sojourn in Siena where he was strongly influenced by Ambrogio and Pietro Lorenzetti. In Florence, he responded particularly to the work of Bernardo Daddi. No signed or dated works exist from his Florentine period.

He had returned to Fabriano in 1348, and in 1354 he seems to have collaborated with Puccio di Simone on an altarpiece for Sant’Antonio Abate fuori Porta Pisana (National Gallery of Art, Washington). A number of signed and dated works survive from his time in Fabriano. He worked on a number of frescoes in Fabriano, notably a St Lawrence cycle in the cathedral, and also on some in Perugia.

Christ on the Cross between the Virgin and St John the Evangelist
Christ on the Cross between the Virgin and St John the Evangelist by

Christ on the Cross between the Virgin and St John the Evangelist

This painting was created in Siena under the influence of the Lorenzetti brothers. It was the right wing of a diptych of which the left wing in the Philadelphia Museum of Art.

Diptych
Diptych by

Diptych

The two panels of the diyptych depict the Virgin and Child and the Man of Sorrows. On the left side the infant Jesus holds a goldfinch. Fond of eating thistles and thorns, the bird is often shown as a reminder of Christ’s later suffering at the time of his death, being forced to wear a crown of thorns.

Sts Catherine and Bartholomew
Sts Catherine and Bartholomew by

Sts Catherine and Bartholomew

This panel is attributed to Allegretto Nuzi with the possible collaboration with Francescuccio Ghissi who worked in the Nuzi’s workshop. It was part of an altarpiece designed by Nuzi. Stylistically, iconographically and in decorative vocabulary it is heavily indebted to Bernardo Daddi.

St Catherine wears a patterned robe and a crown. She carries a decorated book and rest her hand on the spiked will on which she was tortured. St Bartholomew wears a patterned mantle, and carries the knife with which he was flayed alive and a book.

Sts Catherine and Bartholomew (detail)
Sts Catherine and Bartholomew (detail) by

Sts Catherine and Bartholomew (detail)

The detail shows the head of St Catherine.

Sts Catherine and Bartholomew (detail)
Sts Catherine and Bartholomew (detail) by

Sts Catherine and Bartholomew (detail)

The detail shows the head of St Bartholomew.

The Blessing Redeemer
The Blessing Redeemer by

The Blessing Redeemer

This panel was probably part of the same altarpiece from which the panel in the National Gallery, London, representing Sts Catherine and Bartholomew, came.

Virgin and Child
Virgin and Child by

Virgin and Child

Virgin and Child Enthroned with Saints
Virgin and Child Enthroned with Saints by

Virgin and Child Enthroned with Saints

This is one wing of a diptych, the other wing is in the Christian Museum, Esztergom. The represented figures are St Lucy, St John the Baptist, St Anthony Abbot, a Female Martyr, and the Annunciate Angel.

Virgin and Child with Saints
Virgin and Child with Saints by

Virgin and Child with Saints

Virgin and Child with Sts Mary Magdalene, James Major, Stephen, and a Bishop Saint
Virgin and Child with Sts Mary Magdalene, James Major, Stephen, and a Bishop Saint by

Virgin and Child with Sts Mary Magdalene, James Major, Stephen, and a Bishop Saint

Mary Magdalene holds a jar that contained the perfume she used to bathe Christ’s feet. James the Great holds a staff and scallop shell like those carried by pilgrims to his burial site in Spain. Stephen, the first Christian martyr, holds a palm frond, the symbol of martyrdom. Several stones rest on his head, a reminder that he was executed by stoning. The last saint on the right bears no clear attribute other than a bishop’s robes. In the late 1800s, when the altarpiece received a new frame, the bishop was identified as Nicholas of Bari, but he is more likely Zenobius, an early bishop of Florence.

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