Clark painting confirmed as masterpiece

By Linda CarmanPrint Story | Email Story
Piero della Francesca's 'Madonna and Child with Four Angels' (Photo Courtsey of the Clark Art)
WILLIAMSTOWN — The Sterling and Francine Clark Art Institute has loaned a prized Italian Renaissance painting, one of the jewels of the collection, to a major exhibition in Italy — where its juxtaposition with a known masterpiece by Piero della Francesca has stilled any remaining doubts about its authenticity. “This is the first time ever that it’s been out on loan, and certainly the first time out of the United States,” said museum Director Michael Conforti, who was in Italy to view the exhibition. “The painting is Piero della Francesca’s most important work in the United States.” The painting, “Madonna and Child with Four Angels,” is displayed in the Brera Gallery of Milan next to Piero’s great, and considerably larger, Brera altarpiece — in which the artist paints the same figures but adds others, including the kneeling donor, the Duke of Urbino. “Everyone is very excited,” senior curator Richard Rand said. “This is the first time our picture has been to Italy since it left in the early 19th century. This is an opportunity for Italian scholars to see our painting in the flesh — and especially to see it next to the great painting in Milan that is similar in many ways. That has clinched the whole question of whether our picture is by Piero. Everyone now acknowledges that it is, and in point of fact, most current art historian specialists accept our painting as an autographed original. This is wonderful confirmation of what we’ve long believed and what younger generations of scholars believed as well.” Some doubts had been raised in the mid-20th century, mostly because, Rand said, “Most scholars who specialized in Piero had never come to Williamstown and knew the painting only from books. All anyone knew about it was from old black and white photographs, and some people were uncomfortable assigning it to Piero’s hand on that basis.” Sterling Clark purchased the painting in 1914 in London but did not exhibit it until 1955, when the museum opened. Williams College art history professor Samuel Y. Edgerton Jr. said the Clark had been asked to lend the painting previously but a former director had declined. “It would have had a chance to be seen,” Edgerton said. “But instead, it remained in obscurity.” Conforti said Italian professionals were delighted that the Clark had agreed to lend its treasured painting and wanted to see his reaction to the sight of the paintings hung together. “Our Piero was up against the closest comparable work by the artist, so people can see for themselves how similar they are,” he said. “Now the question of authenticity has been settled, it’s just a question of exactly when he painted it.” The artist painted in the 1460s to 1480s in Urbino, in the province of Umbria, between Florence and Rome. “He is, for some, the most ethereal of all Renaissance painters. He took classical models and moved them forward with an almost angelic air,” Conforti said. “There are very few of his works outside Italy, only two or three in the National Gallery in London, and, aside from the Clark’s painting, only a couple of fragments in the United States.” Pleased that any lingering doubts had been stilled, he added, “Certain scholars have wondered if a Piero can be in Williamstown.” Rand said, “It’s our greatest Old Master painting.” The painting will travel to the Metropolitan Museum of Art with the exhibition “From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master,” on display from Feb. 1 to May 1. The Brera alterpiece, deemed too fragile to travel, will not be sent to New York. The exhibition is a collaboration of the Brera Gallery and the Metropolitan — whose curator of European paintings, Keith Christiansen, spearheaded the show and the Clark’s loan. The Clark will, in turn, receive loans from the Metropolitan for a subsequent exhibition. Edgerton said he and Christiansen were “ardent in our belief that the painting was by Piero” and could have been done by no one else. Placed next to the Brera altarpiece, the viewer can see striking similarities. In the Clark painting, Edgerton explained, the Virgin Mary wears a blue cloak over a red garment with a fleur-de-lis design in gold lamé. That same fabric is draped over a figure in the Brera altarpiece. In addition, in the Clark painting, the Virgin Mary wears a four-cornered brooch, also worn by one of the figures in the Brera altarpiece. Edgerton said the most interesting aspect of the paintings is Piero’s characteristic play on perspective. “It’s an intellectual trick, full of gamesmanship,” he said. Edgerton and Christiansen explored Piero’s perspective using a copy done by Sandra Webber of the Williamstown Art Conservation Center, tracing lines out on a huge table. Edgerton also noted that the rightmost angel in the Clark’s painting had likely been painted in the 16th century, while the others are original. He explained that the painting had been badly damaged and was partly repainted. When restored, it was removed from its original wooden panel and put on canvas. The restorer then deliberately left the painting partially unrestored rather than attempt to reconstruct Piero’s creation of the Virgin’s face. That was a choice some people see as “evidence of poor painting rather than as restoration never done,” Edgerton said. “We hope Michael Conforti will build a whole symposium around the painting.”
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Public Health Advisory Issued for Pontoosuc Lake

PITTSFIELD, Mass. — Blue-green algae blooms have been observed at Pontoosuc Lake and a public health advisory has been recommended by the state Department of Public Health for the lake in both Pittsfield and Lanesborough.

As this bloom may present harmful health effects for users of the lake, the Pittsfield Health Department issues the following directives for this waterbody for people and pets until further notice:

  • Do not swim.
  • Do not swallow water.
  • Keep animals away.
  • Rinse off after contact with water.

Warning signs are being posted around the lake.

Blue-green algae, also known as Cyanobacteria, occur naturally in lakes and ponds throughout Massachusetts. These microscopic organisms are components of the aquatic food chain. In ordinary circumstances, Cyanobacteria cause no apparent harm. However, warmer water temperatures and high nutrient concentrations may induce a rapid increase in their abundance. This response is commonly called a “bloom” because algal biomass increases to the extent that normally clear water becomes markedly turbid.

Harmful health effects from the bloom can result through skin contact with the algae tainted water, swallowing the water, and when airborne droplets are inhaled. Pets are especially prone to the health effects not only through skin contact, but also by ingesting significant amounts of the toxin by licking their wet fur after leaving the water.

To protect yourself and your family from any harmful effects of this blue-green algae bloom, residents and visitors are advised to avoid contacting water that has a noxious odor, appears green throughout (sometimes referred to as looking like pea soup), or that has mats, films or scums accumulating on the surface.

Until further notice we recommend avoiding these high-risk activities:

  • Any contact with the water including swimming, diving, playing, or wading
  • Drinking, or allowing animals to drink the water
  • Water sports, e.g. water skiing, wake boarding, wind surfing, jet skiing, tubing

Other activities that pose a moderate risk to health include:

  • Fish consumption
  • Canoeing
  • Rowing
  • Sailing
  • Kayaking
  • Paddle boarding
  • Motor boating

The health outcomes of concern are:

  • Irritations of the skin, eyes or ears
  • GI problems like vomiting and diarrhea
  • Muscle cramps
  • In extreme cases nerve or liver problems

If you or your pet accidentally come in contact with algae tainted water, thoroughly rinse off with clean water.

If you experience any of the symptoms of blue-green algae exposure (listed above), contact your health care provider or call Poison Control at 1-800-222-1222. If your pet experiences symptoms, contact your veterinarian immediately.

Regular monitoring of lake conditions will occur moving forward until bloom dissipates. The community will be notified of the bloom dissipation at that time. The rescinding of the public health advisory will only occur after two successive samples, collected a week apart, demonstrate cell counts or toxin levels below the state guideline values.

For more information or questions, contact the Pittsfield Health Department at 413-499-9411.

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