In a highlight of the summer sale season, a prominently featured painting from the Italian Renaissance, Fra Angelico's Crucifixion, was recently sold at Christie's on July 6th for a staggering amount exceeding £5 million (approximately $6.4 million). The sale to an undisclosed buyer not only marked a significant achievement for the artist but also set a new auction record.
Similar to the sensation caused by Leonardo da Vinci's "Christ as Salvator Mundi" in 2017, the latest buzz revolves around a depiction of Christ within a Calvary scene. Fra Angelico, a revered artist who passed away around the same time Leonardo was born in the mid-15th century, is the creator of this remarkable artwork. The appearance of a major painting by Fra Angelico on the market is indeed extraordinary, given his significance in Italian art.
Interestingly, Christie's, the auction house that sold Leonardo's work six years ago for a record-breaking price of $450 million, is also involved in this recent sale. The buyer of Leonardo's painting was likely the Crown Prince of Saudi Arabia, despite the unconventional choice for someone tasked with the protection of the Holy Cities of Mecca and Medina. For affluent individuals, the artist's identity often outweighs the message conveyed by the artwork. In this context, it is unlikely that Mohammed bin Salman was bidding for the Fra Angelico painting, as the theme of "Jesus as Saviour of the World" is likely to be less concerning for non-Christians compared to the depiction of Jesus on the Cross.
Fra Angelico's Catholic identity runs deeper compared to Leonardo da Vinci. The term "Fra" is a shortened version of the Italian word for brother, which accurately reflects his position within the Dominican Order. Originally named Guido di Piero, this friar-artist earned the affectionate nickname "Angelico" due to his gentle nature.
All of Fra Angelico's known artworks possess religious themes, with a significant number housed in the San Marco convent in Florence. He resided there for a substantial portion of his life, creating paintings for the convent and other Catholic establishments. Collectors face a challenge with his works, as most of his paintings remain affixed to the walls of cells and common areas within the friary. Unlike the highly valued graffiti by Banksy, no one is willing to dismantle a historic structure to remove Fra Angelico's frescoes.
During his lifetime, Fra Angelico's fame spread far and wide. His talent impressed two consecutive popes, both of whom summoned the painter-friar to contribute to frescoes at the Vatican on separate occasions. Although he had a strong attachment to Tuscany, it was in Rome where he passed away before reaching the age of 60. Despite this, he was laid to rest in Rome, leaving behind a legacy that reached well beyond his beloved Tuscan roots.
Fra Angelico's significance as an artist was intricately linked to his character. Unlike many artists whose moral conduct might be questioned, Fra Angelico led a blameless life and approached painting as a form of worship. He believed himself to be divinely inspired, a sentiment that few viewers would dispute. It is said that he shed tears while painting the Crucifixion, showcasing the depth of his devotion.
Even in an era characterized by secularism, the intensity of his religious fervor remains evident. The painted panel at Christie's, with its radiant golden background, exudes an otherworldly luminosity. Symbolism abounds within the artwork, although some of it may go unnoticed amidst the mesmerizing colors and composition of this 25-inch-tall painting. An inconspicuous yet notable detail can be found in the face of the mourning woman at the lower part of the artwork. Above Christ's head, a minuscule depiction of a Pelican in Her Piety can be observed—a well-known symbol representing Christ's sacrifice, with its chest bloodied from pecking to nourish its young.
Within the viewing room at Christie's for Part 1 of the Old Masters sale, a palpable sense of sacredness permeated the atmosphere with the presence of Fra Angelico's artwork. A hushed awe settled upon the space, mirroring the profound subject matter. (Notably, three months earlier, the same space was transformed into a haven of contemplation by another crucifixion painting, created by Craigie Aitchison, one of the few 20th-century artists who gained recognition through depicting Christ's Passion.)
Fra Angelico's renown did not always match his current level of recognition. For centuries, his fame remained overshadowed, but experienced a resurgence in the 19th century, coinciding with a revival of interest in profoundly spiritual early Renaissance art.
Art historians like Alexander Lindsay, the 25th Earl of Crawford, fervently advocated for what was often referred to as "Catholic art," with Fra Angelico being one of their cherished favorites. John Ruskin, despite reservations about Catholicism, also supported Fra Angelico's work. However, the most enthusiastic champion was a rare find—a Catholic cardinal who also happened to be an art writer. Nicholas Wiseman, the inaugural Catholic Archbishop of Westminster, compared Fra Angelico's "perfection in virtue" to the "perfection in Christian art."
During the 19th-century wave of enthusiasm for Italian "Primitives," numerous collectors in the United Kingdom and the United States acquired artworks that are unlikely to resurface for sale again. Colnaghi, which still operates in London and New York, stands as the world's oldest commercial gallery and has long shown a keen interest in Fra Angelico. Jeremy Howard of Colnaghi is a renowned authority on the subject.