Studi di Storia dell'Arte 23
21x30 bross, pp. 276; 306 ill. b/n e col, 2012 - ISSN 1123-5683
Liliana Barroero, Cristina De Benedictis, Anna De Floriani, Gert Kreytenberg,
Francesco Federico Mancini, Enrica Neri Lusanna, Vincenzo Pacelli, Steffi Roettgen, Pietro Ruschi,
Erich Schleier, Nicolas Schwed, Anchise Tempestini.
Marcello Castrichini direttore responsabile
Francesca Fabbri Müller
Romanzi cortesi e prosa didattica a Genova alla fine del Duecento fra interscambi, coesistenze e nuove prospettive
An important group of late thirteenth century manuscripts is at the centre of a lively debate about their possible attribution: Have they been produced at the Anjou court in Naples in the late thirteenth and early fourteenth century, or are they the result of a collaboration between Genoese and Pisan scribes and illuminators, after the battle of the Meloria (1284–1299), in the course of which the Pisans have been taken as prisoners of war and withheld in Genoa? The article tries to demonstrate this second hypothesis, taking into account evidence from linguistics, literary and art history and comparing these manuscripts to others which are sure to have been produced in Genoa in these years, and, what is more, have definitely been written by Pisan prisoners in Genoa. Reassessing this group of manuscripts, which include illustrations of the Arthurian legends, the Bestiaire d’Amour by Richard de Fournival, or the Trésor by Brunetto Latini, allows us to draw a panorama of manuscripts, translations from Latin and French, that makes Genoa become one of the most active centres of book production of that period.
La Crocefissione di San Fortunato a Todi tra Lippo Memmi
e Simone Martini. Novità tecniche e iconografiche
The recognition of a Franciscan saint, but
not St. Francis, as one of the three saints in the frame, has led to a
reinterpretation of the fresco of the Crucifixion of the Church of San
Fortunato in Todi. For the critics, this work is stylistically close to
Simone Martini for Volpe (1960) and for Lunghi (1988), to the ‘Barna’
(Lippo e Tederico Memmi?) for Castelnuovo (1962), for De Benedicitis
(1968) for Fratini (1982), for Monciatti (2010) and for Bagnoli (2012).
Bagnoli deems the Todi’s work extraordinary and close to Lippo. In his
opinion, it is more of an alter-ego than a collaborator or follower of
Martini, for the quality of his
Andrea G. De Marchi
Una Deposizione nel Sepolcro del Maestro del Dittico del Poldi Pezzoli
The short study offer a new panelof this significant master from Spoleto. It is probably one of most important wood painting of that great early Trecento artist. The composition and some technical evidence relate the work to a tempera panel of the master in the Pinacoteca Vaticana.
Marina Stefani Mantovanelli
Domenico Brusasorzi: aggiunte e ripresa di una identificazione
AbstractMarina Stefani Mantovanelli’s article is a result of her previous studies, updated in the light of recent bibliography, on Domenico Riccio also known as Brusasorzi (1516-1567). This article is to be regarded
as one of the most important painters of 16th century in Verona because, despite being linked to a provincial culture, he could get in touch with two neighbouring towns, Mantua and Trent, where he left remarkable works and enriched his cultural experience. Through the examination of his civil and religious activities, the Author comes to identify him as a very skilful painter of altar-pieces and frescoes. Among these, La Cavalcata di Carlo V e Clemente VII at Palazzo Ridolfi is particularly famous and was the fresco that Farinati and Ligozzi took as a model for their works. She pays special attention to the Nozze del Benaco cycle (with relation to the classical-Reinassance culture of Verona) and also to the frescoes for the Da Porto and Chiericati Palladian Palaces in Vicenza.New light has also been cast upon his abilities as a portraitist. The religious sensibility we find in a lot of his works, in line with Giberti’s tradition, makes him the official
artist, but free in spirit, of the Veronese Church.
Ottaviano Mascarino a Roma. Il palazzo Petrignani e la cappella Solano in S. Caterina dei Funari
Ottaviano Nonni, generally known by the
name of Mascarino (1536-1606), spent the last eighteen years of his life
Le committenze artistiche di Fantino Petrignani tra Roma e Amelia
This article sheds new light on the
artistic patronage promoted by the prelate Fantino Petrignani both in
Rome and in his native town Amelia, through two new archival
Miguel Tain Guzman
El cenotafio del Apstóstol da la Catedral de Santiago de Compostela. De los modelos romanos paleocristianos a los camarines castellanos y a los sarcófagos reales de El Escorial
The Memoria sobre las Obras en la Catedral
de Santiago (1656-1657) by the canon José de Vega y Verdugo contains a
very interesting plan to renovate the cenotaph of the
Appunti di studio. Inediti del Giampietrino, Fetti e Nicola Vaccaro
AbstractThis paper presents a methodology that has allowed the author to identify four previously anonymous paintings. The three cases are similar because each subject connects a single painting to a larger series that has remained unidentified or, in the third case, completes an existing series. The first case is of a completely unknown Cumaean Sibyl by Giampietrino (private collection). It provides the first indication that the artist painted an entire series of Sibyls, prophetesses who foresaw the coming of Christ in the Old Testament. The second case is similar, the Portrait of a Castiglioni Family Ancestor (private collection), painted by that tight rope walking genius of the brush, Domenico Fetti. This painting belongs to a series on the ancestors of noble families and is confirmed by the identification of the Portrait of Roberto Castiglioni among the anonymous paintings in the Cleveland Museum of Art. It clearly belongs to the same series and should be returned to the oeuvre of this Roman artist active in Mantova for the Gonzaga family. The third case is slightly different. A signed canvas by Nicola Vaccaro, portrays the Death of Saint Anne (private collection). This work completes a known cycle painted for the Chapel of Saint Anne in the Church of Santa Brigida in Naples
Per Orazio Borgianni (1578-1616) a Savona
e la Sacra Famiglia con sant’Anna dell’abate Gio Carlo Gavotti
The essay proposes a focus on the presence
of the works of Orazio Borgianni in Savona,
the most important city of western Liguria.
This topic is historically established through
the altarpiece of the Nativity of the Virgin in
the Shrine of Nostra Signora di Misericordia:
the painting (already appreciated by Roberto
Longhi in 1914) was probably due to the
patronage of Pozzobonelli. Pozzobonelli family is
the starting point for identifying new tracks
useful to explain this and other evidence
La Confessio di Santa Francesca Romana in S. Maria Nova al Foro Romano. Documenti inediti e riflessioni su Gian Lorenzo Bernini e la sua bottega (1625-1652)
Through a new documentation the author
retraces the executive phases of the building
of Gian Lorenzo Bernini’s Confessio di
santa Francesca Romana in the church of S. Maria
Nova al Foro Romano; he also
Fiorenza Rangoni Gàl
Accomodatio pueri ad artem. Un allievo ignoto e vicende private di Domenico Zampieri
The first part of the essay treats of two new unpublished documents. The first one is an apprentice agreement between Domenico Zampieri, the famous painter, and an almost unknown Bolognese young painter, Alessandro
Provagli (or Provalli). This agreement is the only one ever known during Zampieri’s career. The second one is a legal statement undersigned by the same Alessandro Provagli and by Antonino Barbalonga (a famous Zampieri’s pupil); they proclaim Giovan Battista, the little son of Zampieri, alive, healthy and cheerful. This statement proves the Passeri assertion that the two male sons of Zampieri died of hunger because their mother wished
them slender and elegant. There are also published the unknown necrologies of the children e some new informations about the family of Marsibilia Barbetti. The Zampieri painting for the altar of the roman church
S.Petronio dei Bolognesi seems to be related with those events.
The second part of the essay traces a biographical outline of Alessandro Provagli based on historical sources and unpublished documents and examines his infrequent production; a new painting is here attributed
to his pencil.
Baldassarre Franceschini, detto il Volterrano, e Carlo Dolci nelle collezioni di Vittoria della Rovere e di Francesco Maria de’ Medici. Nuovi documenti, precisazioni, identificazioni
AbstractTwo of the main protagonists of the XVII th century Florentine painting, Baldassarre Franceschini, Known as “il Volterrano”, from is hometown (Volterra 1611 - Firenze 1690) and Carlo Dolci (Florenze 1616 - 1680)) were wery successful in their native land, first of all with the family of the
Grand-Duke who collected their works which are considered symbolic in the variety of painters of this extremely different and complex painting school.
I Righetti a servizio di Canova
At the end of the eighteenth century the famous Roman bronze sculptor Francesco Righetti, with the collaboration of his son Luigi, gained a prominent position in the international art market of bronze reductions of classical and modern sculptures. He also worked on some important original sculptures. The reputation of the Righettis grew to the point that in 1805 father and son were appointed Fonditori Camerali and Fonditori della Fabbrica di San Pietro and they moved their manufactory from “Via Puricazione” to the Vatican foundry. From that moment they combined their usual production of small bronzes to new and more challenging activities. They started a successful collaboration with Antonio Canova, who chose them for casting the colossal bronze of Napoleon as Mars and two equestrian statues of Charles III and Ferdinand I in Naples. This essay focuses on the history of the production of these giant bronzes. The various stages of the moulding and casting process, the workshop practice and the organisation of the Righetti’s work - shops in Rome and Naples are reconstructed through unpublished material from the Righetti archive, as well as from correspondence and articles in periodicals of that time.
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