Lena Rivera
The 'Crocifisso di Fucecchio' or 'Berlinghiero Berlinghieri' was painted by Berlinghiero, an Italian painter known for his Italo-Byzantine style of the early 13th century. The painting dates back to 1230-1235 and is currently housed in the Museo Civico in Fucecchio. Berlinghiero's actual name remains unknown, but he is believed to have been active between 1228 and 1242, with his work also appearing in museums in Pisa, Lucca, Villa Basilica, Raleigh, Cleveland, and New York City. The 'Crocifisso di Fucecchio' depicts a more slender and idealized Christ compared to Berlinghiero's other work, the 'Croce di Lucca', showcasing the influence of Giunta Pisano in its expressive figures.
| Characteristics | Values |
|---|---|
| Artist | Berlinghiero Berlinghieri |
| Artwork | Crocifisso di Fucecchio |
| Date | c. 1230-1235 |
| Medium | Tempera and gold on wood |
| Dimensions | 355 x 285 cm (140 x 112 in) |
| Location | Museo di Fucecchio, Italy |
| Style | Italo-Byzantine |
| Technique | Tempera painting |
| Period | Early Renaissance |
| Condition | Restored |
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What You'll Learn
The painting is dated between 1230-1235
The painting known as the Crocifisso di Fucecchio by Berlinghiero (also known as Berlinghiero Berlinghieri or Berlinghiero of Lucca) is dated between 1230 and 1235. This date range falls within the early thirteenth century, the period in which Berlinghiero was active as an Italian painter in the Italo-Byzantine style.
Berlinghiero's actual name remains unknown, and the form "Berlinghiero Berlinghieri" that was once commonly used in art history is not considered his true name by most recent sources. However, this name form is still widely accepted and recognised. The painter's name is derived from the inscription "Berlingerius me pinxit" found on the crucifix, which has been the basis for attributing other works to him.
The Crocifisso di Fucecchio is a significant work attributed to Berlinghiero, and it showcases a more slender and idealised portrayal of Christ compared to his other signed work, the Croce di Lucca. The influence of Giunta Pisano is evident in the Fucecchio painting, as Christ's body is more proportionate, and his face has a more pronounced sense of sadness.
Dating the painting to the years between 1230 and 1235 provides valuable insight into the artistic period and the painter's career. This timeframe also allows art historians and enthusiasts to contextualise the work within the broader landscape of early thirteenth-century Italian art, characterised by the Italo-Byzantine style that Berlinghiero mastered.
The Crocifisso di Fucecchio, with its distinctive features and emotional expressiveness, stands as a testament to the artistic achievements of its time, and its dating provides a crucial anchor point for understanding the evolution of art in the region.
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It depicts a triumphant Christ with eyes open
The Crucifix of Berlinghiero Berlinghieri, or the Crocifisso di Fucecchio, is a powerful and iconic painting with a unique depiction of Christ. Dating back to the early 13th century, this remarkable work of art is believed to have been created around 1230–1235. With a rich history and deep religious significance, this crucifix has become a cornerstone of Italian art and a testament to the skill and devotion of its creator, Berlinghiero Berlinghieri. The painting depicts a triumphant and powerful image of Christ on the cross, with his eyes open, a unique and rare representation.
Berlinghiero's choice to portray Christ with open eyes holds deep symbolic value. In traditional depictions of the crucifixion, Christ is often shown with his eyes closed, reflecting the common belief that he had died and his soul had departed. However, in this rendition, Christ's eyes are wide open, gazing directly at the viewer. This unusual representation conveys a powerful message of triumph and resurrection. Berlinghiero's Christ is not a passive victim but a victorious saviour, who has conquered death and offers salvation to those who believe.
The open eyes also provide a sense of intimacy and connection. Christ's direct gaze engages the viewer, inviting them to share in his suffering and, ultimately, his triumph over death. This personal and emotional connection is a striking aspect of the painting, encouraging reflection and contemplation. The powerful message conveyed by the open eyes of Christ has had a lasting impact on art and continues to inspire and move viewers today.
Berlinghiero's unique interpretation of the crucifixion highlights his skill and creativity as an artist. Through this distinctive depiction, he has left an indelible mark on the history of art, offering a fresh perspective on a pivotal moment in Christian theology. The Crucifix of Berlinghiero Berlinghieri, with its open-eyed Christ, serves as a reminder of the artist's mastery and innovation, ensuring his legacy in the world of art and providing a profound spiritual experience for viewers across the centuries.
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The painting was restored in 1981
The Crocifisso di Fucecchio, or the Crucifix of Fucecchio, was painted by Berlinghiero Berlinghieri sometime between 1230 and 1235. The painting underwent restoration in 1981, and it was only then that the artist's true signature was discovered.
The restoration process can often reveal hidden details about a painting, and this was certainly the case for the Crocifisso di Fucecchio. The signature "Berlingerius me pinxit" was found, which is the basis for attributing works to Berlinghiero. This particular inscription is significant because it provides insight into the artist's name, which was previously a matter of debate. The form "Berlinghiero Berlinghieri" was once commonly used in art history, but according to more recent sources, this is not likely to be his real name.
The discovery of the signature during the 1981 restoration helped to solidify the attribution of the painting to Berlinghiero. However, even after the restoration, there was still some doubt about the artist's identity. In 1991, Luciano Bellosi questioned the signature and suggested that the work could be attributed to the Sienese artist Dietisalvi di Speme. Nonetheless, Bellosi's hypothesis did not gain widespread acceptance, and today, the consensus is that the Crocifisso di Fucecchio is indeed a work by Berlinghiero.
The restoration process can also provide insights into the artistic influences and techniques of the time. The Crocifisso di Fucecchio, for example, shows the influence of Giunta Pisano, with a more expressive rendering of the figures, including a calcated sadness in the face of Christ, which is also reflected in the figure of St. John to his left. This influence is particularly interesting because it demonstrates the evolution of artistic styles and the exchange of ideas between artists in the early thirteenth century.
The 1981 restoration of the Crocifisso di Fucecchio was, therefore, a significant event that helped to shed light on the painting's attribution, artistic influences, and technical details. While some questions about the work may remain, the restoration process played a crucial role in enhancing our understanding and appreciation of this early thirteenth-century masterpiece.
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Berlinghiero's true signature was discovered during the restoration
The painter Berlinghiero, also known as Berlinghiero Berlinghieri or Berlinghiero of Lucca, was an Italian painter in the Italo-Byzantine style of the early 13th century. He was the father of the painters Barone Berlinghieri, Bonaventura Berlinghieri, and Graco Berlinghieri. His actual name is unknown, as he is known from the inscription "Berlingerius me pinxit" on a crucifix, which forms the basis for attributing other works to him. The form "Berlinghiero Berlinghieri", once common in art history, is certainly not his name according to Edward B. Garrison and most recent sources. However, his commonly accepted name is still Berlinghiero.
The Crocifisso di Fucecchio is a significant work attributed to Berlinghiero, and it showcases the influence of the Byzantine style on his artistic approach. This influence is evident in the elongation of the figure of Christ, the use of a flat gold background, and the emphasis on spiritual expression. The restoration of the piece in 1981 not only revealed Berlinghiero's true signature but also contributed to a deeper understanding of his artistic techniques and the influences that shaped his style.
Despite the discovery of the signature during the restoration, there was still some debate among art historians about the attribution of the work. Luciano Bellosi, in 1991, doubted the authorship and attributed the piece to Dietisalvi di Speme. However, Bellosi's hypothesis did not gain widespread acceptance, and today the consensus is that the Crocifisso di Fucecchio is indeed a work by Berlinghiero.
The restoration of the Crocifisso di Fucecchio played a pivotal role in shedding light on Berlinghiero's true signature and stylistic traits. The discovery of his signature during this process contributed significantly to art historical research, allowing for more accurate attributions and a deeper appreciation of his artistic legacy.
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The work is attributed to the Italo-Byzantine style
The Italo-Byzantine style is a term used in art history to describe medieval paintings produced in Italy that were heavily influenced by Byzantine art. The term Italo-Byzantine is mostly applied to religious paintings that copy or imitate the standard Byzantine icon types, such as the Madonna and Child, but were painted by artists without training in Byzantine techniques. These works are versions of Byzantine icons, often on a gold ground, and they introduced the relatively small, framed, and portable painting to Western Europe. The Italo-Byzantine style was the dominant style in Italian painting until the end of the 13th century, continuing for some painters into the 15th century.
The original Italo-Byzantine artworks were religious icons, primarily of the Madonna and Child, and small framed works, often with a golden background. The Italo-Byzantine style was influenced by the Byzantine Empire's suzerainty over much of the Italian peninsula, and it developed its own unique national character. Byzantine influence in Sicily and southern Italy can be traced back to the 7th century, when Emperor Constans II moved his headquarters to the region. However, a more significant event that brought a larger influx of Byzantine artistic influence to the West was the Fourth Crusade in 1204.
The Italo-Byzantine style was the major style of Italian painters in the 13th century, and it continued to evolve and spread during this period. Two leading painters in North Italy during the latter part of the 13th century, Cimabue in Florence and Duccio in Siena, were trained in the Italo-Byzantine style and developed it further in terms of representing solidity and depth, and loosening up the traditional Byzantine poses. Their influence, along with that of Giotto, helped to usher in the Italian Renaissance, marking a shift away from the Italo-Byzantine style.
The work of Berlinghiero di Berlinghieri, the Crocificio di Fucecchio, is attributed to the Italo-Byzantine style. This work demonstrates the influence of Giunta Pisano, with a more expressive and idealized depiction of Christ and the figure of Saint John. The Crocificio di Fucecchio is believed to have been created in the 13th century, during the height of the Italo-Byzantine style's popularity and influence in Italian art.
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Frequently asked questions
It was painted sometime between 1230 and 1235.
It was painted by Berlinghiero, also known as Berlinghiero Berlinghieri or Berlinghiero of Lucca. His actual name is unknown, but he is known to have been active between 1228 and 1242.
It is currently in a private collection.
Yes, it was restored in 1981, and Berlinghiero's true signature was discovered at that time.
