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Collections

Ugolino di Nerio
Worshipping Angelscirca 1325

On view:
Geffen Galleries, floor 2
Tempera and gold leaf panel painting, spandrel fragment of an altarpiece with a pointed Gothic arch, groups of haloed angels in colored robes flanking each side
Tempera and gold leaf panel painting, upper section of a Gothic altarpiece with a pointed arch opening revealing bare wood beneath. Groups of haloed angels in robes of blue, green, and red flank both sides against a gold background, painted in a Byzantine-influenced style with flat, stylized forms.

Ugolino di Nerio, Worshipping Angels, circa 1325, Los Angeles County Museum of Art, William Randolph Hearst Collection, photo © Museum Associates/LACMA

Artist or Maker
Ugolino di Nerio
Italy, Siena, active 1317-circa 1327
Title
Worshipping Angels
Place Made
Italy
Date Made
circa 1325
Medium
Tempera on panel
Dimensions
19 × 29 1/2 × 3 1/2 in. (48.26 × 74.93 × 8.89 cm)
Credit Line
William Randolph Hearst Collection
Accession Number
49.17.40
Classification
Paintings
Collecting Area
European Painting and Sculpture
Curatorial Notes

Even the most luxurious or sacred artworks fall in and out of fashion and, as a result, may be moved from their original locations and eventually sold. This panel is a fragment of an altarpiece once situated behind the high altar in the spectacularly decorated church of Santa Croce, Florence. Elaborate polyptychs constructed of multiple painted panels and unified with gilt architectural frames were designed to be placed behind church altars. This particular spandrel likely crowned the polyptych’s central panel featuring the Virgin and Child—the only portion of the altarpiece signed by the artist Ugolino di Nerio. Trained in Siena, the painter is known to have completed commissions for the Florentine churches of Orsanmichele, Santa Maria Novella, and Santa Croce.

On either side of this decorative pointed arch, groups of angels look down toward a now-missing image of the Virgin and Child. Ugolino imbued each angel with individual personality and charm: they have delicate expressions, wear different-colored robes, and take various positions (one even leans his head on his hands using the physical arch for support). Ugolino’s masterful handling of glazes creates a prismatic group set against a golden heavenly sky, evoking the celestial realm.

The life of this altarpiece is one of twists and turns. Seen in situ in 1550 by Giorgio Vasari, it was moved to a side chapel by 1566 and noted as being stored in the Upper Dormitory of the church by 1785. Centuries passed, and portions of the altarpiece were irrevocably damaged; those parts in good condition were sold in the early nineteenth century, most ending up in the collection of William Young Ottley. He sold them again in the mid-nineteenth century, further fracturing the altar’s original assembly. Many of these panel paintings are now spread across collections in London, New York, and Berlin, among others. The panel featuring the Virgin and Child was already in poor condition when it was sold in the nineteenth century—its current location and the question of when the LACMA spandrel with angels was separated from it remain a mystery.

2024

Selected Bibliography
  • Caroselli, Susan L. Italian Panel Painting of the Early Renaissance. Los Angeles: Museum Associates, Los Angeles County Museum of Art, 1994.

  • Schaefer, Scott, and Peter Fusco. European Painting and Sculpture in the Los Angeles County Museum of Art: an Illustrated Summary Catalogue. Los Angeles: Los Angeles County Museum of Art, 1987.