Studi di Storia dell'Arte 26

21x30 bross, pp. 296;  ill. b/n e col, 205 - ISSN 1123-5683

COMITATO SCIENTIFICO
Liliana Barroero, Giovanna Capitelli, Stefano Casciu, Stefano Causa, Cristina De Benedictis, Anna De Floriani, Cristina Galassi, Gert Kreytenberg, Francesco Federico Mancini, Enrica Neri Lusanna, Steffi Roettgen, Pietro Ruschi,
Erich Schleier, Nicolas Schwed, Anchise Tempestini

Marcello Castrichini direttore responsabile

Enrica Neri Lusanna

Il monumento funebre del vescovo Filippo, Nicola Pisano e i frati minori di Pistoia

The funeral monument of Bishop Filippo, Nicola Pisano and the Friars Minor of Pistoia

 

Two reliefs, one a cast in the Berlin State Museums, representing l’elevatio animae of a Bishop, the other, in the Museo Civico in Pistoia, with the Stigmata of St. Francis, are from the Franciscan monastery in Pistoia, and have been considered by scholars to have once been part of the front of a marble tomb, placed against the wall. This was originally intended for the church of Santa Maria al Prato in Pistoia, the building that existed prior to the construction of todays Church of Saint Francis. The relief with the “elevatio animae” has previously been convincingly attributed to Nicola Pisano, and dated for the most part towards the end of the eighth decade of the thirteenth century. The identity of the bishop, who some have postulated was a member of the Buonaccorsi or Ammannati family, has however remained rather obscure.

This article aims to identify the deceased pre- late as the Bishop Philip, a native of Pistoia, who was Bishop of Ferrara from 1240 to 1250, Bishop of Florence from 1250 to 1251,and Bishop of Ravenna from 1252 to 1270. The main source for this hypothesis is Salimbene of Parma. His Cronica offers a comprehensive portrait of the prelate, which details his origins in Pistoia, his intense political and military ac- tivity ( especially against Frederick II), carried out at the behest of the Popes Innocent IV and Alexander IV, and his efforts to protect and support the Friars Minor.

A parchment dated January 16th 1250 (Flo- rence, Santa Croce, Archivio Storico della Provincia Toscana OFM Conv., Pergamena

4) contains the transcript which attests to the decisive role played in successfully completing the settlement of the Minorities in Pistoia, at the church of Santa Maria al Prato. It was in this same church that Philip would choose to be buried after returning to Pistoia twenty years later, as recorded by Salimbene, feeling death close hand. It is likely that he himself planned the tomb, with the help of ecclesiastical friends, such as his confessor Thomas of Pavia, former Minister General of the Franciscan Order in Tuscany, while Nicola Pisano made a fundamental contribution to the iconography.

The date of the death of the prelate, which occurred in September 1270, thus represents a certain terminus a quo in the early dating of this work, which is important both as a milestone in the path of Nicola Pisano, and as one of the first sculpted funerary monuments, housed in a Minorite church.

The hypothesis that Philip had already con- sidered sculpture as a vehicle for ideological propaganda can also be advanced with caution, if he is attributed with involvement in the commission of the “Last Judgmentat the Cathedral of Ferrara, while he was bishop of the city. The iconography of the lunette of Paradise, in which Abraham appears with St. Maurelius the bishop, suggests that eternal salvation is attainable through the Church and its ministers.

1250, Bishop of Florence from 1250 to 1251,and Bishop of Ravenna from 1252 to 1270. The main source for this hypothesis is Salimbene of Parma. His Cronica offers a comprehensive portrait of the prelate, which details his origins
in Pistoia, his intense political and military activity

(especially against Frederick II), carried out at the behest of the Popes Innocent IV and Alexander IV, and his efforts to protect and support the Friars Minor.
A parchment dated January 16th 1250 (Florence,Santa Croce, Archivio Storico della Provincia Toscana OFM Conv., Pergamena
4) contains the transcript which attests to the decisive role played in successfully completing the settlement of the Minorities in Pistoia, at the church of Santa Maria al Prato. It was in this same church that Philip would choose to be buried after returning to Pistoia twenty
years later, as recorded by Salimbene, feeling death close hand. It is likely that he
himself planned the tomb, with the help of ecclesiastical friends, such as his confessor
Thomas of Pavia, former Minister General of the Franciscan Order in Tuscany, while Nicola Pisano made a fundamental contribution to
the iconography.
The date of the death of the prelate, which occurred in September 1270, thus represents
a certain terminus a quo in the early dating of this work, which is important both as a milestone in the path of Nicola Pisano, and as one of the first sculpted funerary monuments,
housed in a Minorite church.
The hypothesis that Philip had already considered sculpture as a vehicle for ideological
propaganda can also be advanced with caution, if he is attributed with involvement
in the commission of the “Last Judgment” at the Cathedral of Ferrara, while he was bishop
of the city. The iconography of the lunette of Paradise, in which Abraham appears with St.
Maurelius the bishop, suggests that eternal salvation is attainable through the Church
and its ministers.


Federica Volpera

Tra Pisa e Siena. Tracce di modelli toscani nella pittura a Genova tra Due e Trecento

Between Pisa and Siena. Traces of Tuscan models in painting in Genoa between Two and Three Centuries

 

In the last years restorations revealednew evidences of the influence of diffe- rent Tuscan schools in Liguria and Genoabetween the end of 13th and the 14thcentury  -IrefertothepanelrepresentingtheVirginwiththeChildofN.S.delPonte(Lavagna), which has been attributed toa Sienese painter closed to Ducciesquemodels, and to the Cimabuesque apsaldecoration in N. S. del Carmine and theVirginwiththeChildandtwosaintsofSanBartolomeodell’Olivella(Genoa).In order to obtain a deeper understandingof the strong connection between LiguriaandTuscaninthisperiod,thisarticleputsunder scrutiny four fragments of Genoesepaintings, executed between the end of13thandthefirstdecadesofthe14thcentury: the Virgin with the Child and archangels of Santa Maria del Prato in GenoaAlbaro,the Christ crucified betweentheVirginandsaint JohntheBaptistnowinthemonasteryofSantAgata,theImagoPieta tis of the lower church of San Giovanni diP,andtheChristcrucifiedandtheVirginofSanDonato.

If the close relationship of the first fragmentto Thirteenthcentury ByzantinePisaniconsmaybeconsidered as oneoftheprecocioussignsofthelocalappre- ciation of the eastern imagery, and at thesametimeoftheactivityofPisanpaintersin the city, the other ones are the eviden ces of the influence of the Sienese artontheGenoeseproduction.Ineachcasecomparisonsofstyleand painting techni que are shown to focus on the differenttimeandmodeofreceptionfromPisanandSieneselanguages.

 


Alessio Monciatti

Le facciate di sopra dalle bande dell’altar maggiore”.

Riflessioni per le Vele giottesche di Assisi

Le facciate di sopra dalle bande dell’altar maggiore”. Reflections for Giotto's sails in Assisi

 

 

The painted frames of the FranciscanAllegories in the Lower Church of SaintFrancis in Assisi for the first time are thesubject of a specific study. This article isprimarily an overview of the state of theartonthechosentopicand,inviewofthisspecific angle, aims at revisiting some ofthe issues that have been discussed inthe critical history of the work. It is shownthat the incompleteness of the cycle wasdue to the suspension of the works, whilewaiting for the reconstruction of the navepaintings. Then, the study finds that theprocedural differences were similar tothose observed in the Vele. It also provides insights into the specific apocalypticimagery which is especially crucial to theoveralliconographicprogramme and inrespect to the history of both the churchandthe Franciscan order. Moreover, thestudy reveals not only that the painting ofthe frames can be dated roughly between1313 and 1315, but also the Anjou familybudding interest in the Basilica thatsuchworkbespeaks.

 

Vittoria Camelliti

La Misericordia Domini del Museo del Bigallo. Un unicum iconografico della pittura fiorentina dopo la Peste Nera?

The Misericordia Domini the Bigallo Museum Domains. An iconographic unicum of Florentine painting after the Black Pest?

 

 

This paper deals with the famous fresco known as the Vergin of Mercy or “Allegory of Mercyin the Oratorio del Bigallo in Flo- rence. The date of the fresco is uncertain, between 1342 and 1352. Its iconography and chronology are here taken into con- sideration within an historical perspective. The city image – first of all, the presence of the four coats of arms on the city gate and the representation of a second bell on the Palazzo Vecchio contains important clues to date the fresco after 1344 and to make us propose 1352, as its date. The hypothe- sis that the frescoes should be dated after the Black Death is checked on the basis of the historical context, paying attention to the question of the ‘moda (considering the dresses of the laics represented in prayer) in keeping with the trends of those years in mid-14th c.

Cristina De Benedictis

Sulla fase fiorentina di Niccolò di ser Sozzo e di Lippo Vanni

On the Florentine stage of Niccolò di Ser Sozzo and Lippo Vanni

 

The  paperi is  based  on  the supposition that two sienese artists went to Florence both  not  withstanding the  hard  political conflict who manteined Florence and Sie- na as enemies during the XIV century. Niccolò di Ser Sozzo we can guess he was staying  in  Florence  for  the  years 1338-1340, on the basis of some innovating miniatures he made for the Comedy and Cicerone’s texts. For Lippo Vanni, thee- secution of an illustrated Gradual for San Lorenzo  churce  and  of  an  Antiphonary, now dismembered, for Florence‘s Dome prouve his working in the city during years

1360-1370.

 

Paola Benigni - Luisa Caporossi

Documenti per la chiesa di Santa Maria a Momentana. Ripensando la spazialità e l’illuminazione originaria della Madonna del Parto di Piero della Francesca

Documents for the church of Santa Maria a Momentana. Thinking about the original spatiality and lighting of the Madonna del Parto by Piero della Francesca

 

Through a reading of some documents and the interpretation of seventeenth-century views of the church of Santa Maria a Mo- mentana, this essay first of all will attempt to clarify how was the church in which was painted the Madonna del Parto, unanimou- sly considered a masterpiece by Piero della Francesca. In fact, the building  was largely demolished in 1785 and replaced with a cemetery. On that occasion the painting was removed and reduced, and it was inserted into an arched niche on the main altar of the new cemetery chapel. The essay allows also to understand where was the Madonna del Parto in Santa Maria a Momentana, with the comparison between maps and the de- scriptions present in the pastoral visits and in other documents. Already in 2009 a study, designed primarily to define the legal status of the fresco, proposed that the Madonna del Parto was not on the main altar of the church, as it is believed in all previous stu- dies, but on a side altar. Now this hypothesis is further confirmed and the documents show that the painting was probably located on the north wall.

 

 

Giuliano Pisani

Le Veneri di Raffaello (Tra Anacreonte e il Magnifico, il Sodoma e Tiziano)

The Venus of Raphael (Between Anacreon and Magnificent, Sodom and Titian)

 

In the first part of my article I show how the title “Fornarina(first used by engraver Domenico  Cunego  in  1772)  is  rooted  in a linguistic tradition, documented, among others, by the Greek poet Anacreon in the

6th century BCE and found in numerous literary texts from antiquity to the modern period.  In  this  tradition,  “forno  (“oven”) and its cognate “fornaia(“woman baker”) etc. metaphorically indicate the female sexual  organ  and  the  woman  prostitute. In the second part of my article I discuss “whatthe Fornarina represents as oppo- sed to “who she is”, and I advance the hypothesis that Raphael, drawing his inspiration from Marsilio Ficino and Pietro Bembo, portrays in the “Fornarinathe ce- lestial Venus, namely the type of love that raises the soul toward the search for truth by means of the “celestialbeauty. This Venus differs from the other Venus, the “terrestrialVenus, namely the generating power  of  nature,  who  is  connected  with the terrestrial beauty and has procreation as her goal. From this viewpoint, the “For- narinais interconnected with the Velata”, whom I identify as the terrestrial Venus, the bride, the mother.

 


Fausto Nicolai

Karel van Mander e gli affreschi di palazzo Spada a Terni. Il contratto del 1574

Karel van Mander and the frescoes of Spada palace in Terni. The contract of 1574

 

 

ThearticleisfocusedonKarelvanManderactivity for the nobleman MichelangeloSpadainhispalaceatTernithankstotheneverbeforepublishedcontractsignedbytheflemishpainteron1574.Thisimportantdocument reveals all the essential detailsrelatedtothepatronsintentionstorequireacopyoftheVasarisfrescoesintheSalaRegia at the Vatican. It also confirms theattribution to van Mander of the narrativecycle with the Battle of Lepanto and theMassacre of the Huguenots. On the basisofthecontractwecanrealize,finnally,thatthe flemish painter was assisted by Da- niele Rivaldo from Turin who painted therich grottesche parts of the MichelangeloSpadaspalace decoration


Simona Capelli

La Santa Caterina D’Alessandria di Marcello Venusti.Diffusione del modello iconografico tra repliche e copie. Considerazioni e nuove proposte

St. Catherine of Alessandria by Marcello Venusti. Spread the iconographic pattern between replicas and copies. Considerations and new proposals

 

The essay deals with the rapresentation of St.Catherine of Alexandria in the pictorial creations of Marcello Venusti: are in fact seven versions known so far, reflecting the importance of the spread and the icono- graphy of St.Catherine, in the seventies of the sixteenth century and the first decades of the seventeenth. The analysis starts from the painting done by the Lombard master for Mutini chapel in the Church of St. Augustine (Rome), to arrive to the analysis of another version appeared in 2014 and held an au tograph- from the writer- to the high quality and  stylistic  affinities  with  certain  works of Marcello Venusti. The contribution also analyzes other five works (three in Spain and two in Italy) that can be considered anonymous copies of the obvious weakness executive; while a sixth version dated 1576 was ascribed to the hand of the Umbrian painter Paolo Sensini.


Marco Vaccaro

Pittura veneta in Abruzzo tra Cinquecento e Seicento

Venetian painting in Abruzzo between the sixteenth and seventeenth centuries

 

Despite its mid-adriatic position, on the coast of the Venetian Sea”, no detailed research has ever been made on still existing Venetian paintings in Abruzzo. Nevertheless, Venetian painters  had a significant importance in the area during the early modern centuries,  from the earliest works by Jacobello del  Fiore to the most recent ones by Vincenzo Damini. A group of works dating back between the end of the 16 th century and the begninning of the

17  th  century,  unpublished  or  littleknow, are discussed here: three paintings attribu- ted to Leonardo Corona and his workshop in Chieti; three others in Vasto, made by Veronese’s followers Alvise Benfatto and Matteo Ingoli; a Virgin of the Rosary in the manner of Bassano in Lanciano; moreover, some works made for Teramo and its surrondings by Pietro Gaia, educated in Venice, - close to Palma the younger - and then returned to Ascoli; in L’Aquila, in addition to a painting signed by the Vicentine Alessandro Maganza, the possible rediscovery of a part from a lost triptych, originally created for the Capuchin friars by Fra Semplice da Verona. Out of timeline, a new proposal  for Polidoro da Lanciano, emigrated from Abruzzo to Venice, a true symbol  of  the  relationship  between  the two regions.

 

 

 

Rita Randolfi

La Resurrezione di Lazzaro di Ribera, già dei Cussida e poi dei Gavotti “romani”, oggi al Prado di Madrid

The Resurrection of Lazarus of Ribera, already of the Cussida and then of the "Roman" Gavotti,today at the Prado in Madrid

 

The  essay  retraces  the  story  of  Jusepe de Riberas Raising of Lazarus owned by Pietro Cussida, a Spanish emissary working on behalf of King Ferdinando III. When Pietros son Giovanni Francesco died, all his wealth went to his daughter Laura, born to his wife Maria Gavotti. He appointed her uncle Niccolò as her guardian. From then on all Cussidas possessions passed to the Roman branch, Gavotti. Through the Gavottis inventories it is possible to follow the ups and downs of Riberas painting,  attributed to anonymous or to other painters such as Valentin. During the 19th Century the Gavotti were compelled to pawn the paintings to the banks for money.

The misbehaviour of one of these banks would cause a legal issue, the outcome of which would turn in favour of the Gavotti family. Once they had unexpectedly repossessed the Riberas painting, they pawned it once again to the Cassa di Risparmio bank, instead of keeping it.

The Raising of Lazarus, attributed to Caravaggio, was offered to the Duke Ottoboni. In 2001 the painting was put up for auction at Sothebys in New York, and attributed to Ribera, of whom Cussida also owned the series of the Apostles and the Five Senses.

 

Miguel Taín Guzmán

The Buen Retiro Palace and its italian and Florentine works of art in the diaries of the journey to Spain of prince Cosimo III of Medici

 

At the age of 26, Cosimo de Medici theThird,PrinceofTuscany,setoutonalongtrip throughout Europe, including Spain,Portugal, England, Holland and France,between 1668 and 1669. The places hevisited, which were important for cultural,economic or political reasons, were carefullyselectedinordertopreparethePrincefor becoming the new Grand Duke of Flor- ence.HisvisittoSpaininvolvedoneofthelongestjourneys,includingastayinMadridwhich lasted thirty-three days. He took ad- vantageofthisperiodtoenjoysomeofthepleasures of the Spanish Court, such ascomedies,music,chocolate,perfumesandlocal delicacies. He also held interviewswithItalianambassadors,nobilityandresi- dents,forginglinksforthefuture,aswellaswith the Queen Regent Mariana ofAustriaand the child king Carlos II, who had beenon the throne since 17 September 1665,whograntedhimaprivateaudiencedespitethe political turbulence of the time causedbytheintriguesofJuanofAustria.Healsoacquireddifferent works of art and luxuryitems to take back to Florence (includingpaintings, drawings, books and silverware)and spent long periods of time discoveringreligiousimagesandrelicsinchurchesandconvents.HealsoaskedpermissiontovisitthePalacesoftheCrownandtheirrichcollectionstosatisfyhisculturalinterests.Thisarticle deals with the Princes visit to thePalace of El Buen Retiro on 2 November,and identifies and analyses the paintings,

Nicolas Schwed

La Magnanimité Royale, dessin pour un tableau perdu de Thomas Blanchet (1614-1689) peint pour le palais de justice de Lyon

The Royal Magnanimity, drawing for a lost painting by Thomas Blanchet (1614-1689) painted for the Lyon Courthouse

 

These two unpublished drawings are pre- paratory for a picture painted by Blanchet for the palace of Justice in Lyon in 1686-

1688. The painting, now lost, was until now only known through the long and precise description left by the Swede architect Nicomedus Tessin written while he visited Blanchet’s studio in Lyon in 1687. The painting’s description corresponds exactly to the first drawing; the second sheet being of the same composition but reversed. The subject painted by Blanchet recount an act of magnanimity of King Louis XIV who, in a property court case of 1681, stated that he had lost it even though the judges stated he had won. Blanchet’s painting was han- ging along acts of magnanimity taken from the Roman history.

 


Francesco Petrucci

Un Bernini riscoperto. Il busto in marmo di Paolo V

A Bernini rediscovered. Paul V's marble bust

 

The study focuses on one of the most important discoveries of recent years in Bernini’s  portraiture  production,  the  bust of Paul V Borghese, which also represents his first papal portrait, along with the small bust of the Galleria Borghese. The bust was sold at auction in Rome in 1893 to be- come part of a private collection in Wien, but since  then it was  completely lost. It was recognized as the lost work of Bernini by the author, contacted by the owner who had bought it on the antiquities market in Bratislava in 2014. Later, the bust was pur- chased by The John Paul Getty Museum in Malibu (California). Direct analysis of the work, which has all the characteristics of a live image, allowed Petrucci to overturn the traditional dating of the two portraits of the pope, dating the Getty Museum bust to

1619-20, when the pope was alive, while the small bust of the Galleria Borghese is considered a posthumous work and put in relation with payments made in 1621 to Bernini by Cardinal Scipione Borghese.

 

 

Erich Schleier

Altre aggiunte a Girolamo Troppa pittore e disegnatore

Other additions to Girolamo Troppa painter and designer

 

In  the  present  article  five  new  attribu- tions of pictures, partly already published previously  with  different  names,  and  two new drawings are published and added to Troppas oeuvre, which had been notably increased in the last ten years.

A half-length “Lucretia” , in the collection of  Carlo Croce in Columbus,Ohio,previously thought to be by G.G. Dal Sole; a painting of “St. Joseph with the Christ Child  and  two angels   in a landscape”, in a small town in Brittany, shown in 2013/14 in an exhibition in Ren- nes as Burrini; the stupendous “Homer dictating to a scribe with another figure”, recently published as Pier Francesco Mola, another, unpublished version of Troppas know composition of the “Healing of  Tobit” (Madrid, private collection), and the figure of a young woman,wrongly attributed to the circle of Garzi, in a fruit still- life ascribed to Bartolomeo Castelli il Giovane (D.Aaron Gallery,Paris). In the field of drawings  a superb, unpublished, signed pen and wash drawing of the “Pieta” (The dead body of Christ mourned by the Magdalen and an- gels) (Munich, private collection) is presen- ted here and connected with a large signed painting, sold at Christies, London, july 9

1993.  The second drawing represents the “Multiplication of the loaves and fishes” and was sold in Berlin, Bassenge, 30.5. 2014 as Italian school.

Finally a painting is published, which depicts Daniel who reveals the false accusations of the two elderly man toward Susanna.

 

 

Gianluca Forgione

Gaspare Traversi ritrattista dello storico capuano Francesco Granata

Gaspare Traversi portraitist of the historic from Capua Francesco Granata

 

The short article discusses an important canvas, recently rediscovered, that was painted by Gaspare Traversi during his Roman period: it shows the portrait of a prelate, held in a private collection in Naples, and for the first time here identified as the portrait of Francesco Granata, the historian from Capua who became Bishop of Sessa in 1757. The identification is based on a comparison of two known engravings which portray Granada, by Antonio Baldi in 1752 and in 1766, who was a pupil of Francesco Solimena. The two engravings and the find of the new portrait also led to a definitive confirmation in the identification of Francesco Granata as the man portrayed in the famous and impressive portrait in the Capodimonte Museum, the last known work of Traversi, which was painted in 1770, thirteen years before the first portrait, and not long before the deaths of both the artist and his patron (respectively, in 1770 e in 1771).


Roberto Verdirosi

Per un profilo di Antonio Concioli, pittore della bottega di Batoni

For a profile by Antonio Concioli, painter of the Batoni workshop

 

Although Antonio Concioli was recognized by his contemporaries as the only remark- able “allievo of painter Pompeo Batoni, his works have long been forgotten and have even been confused with those of the painter Batoni himself. The main aims of this essay are to restore to Concioli his own identity within the forum of contemporary artists as well as to recreate at best a catalog of his known works, following his artistic route, from the batonism of his origins to a most evident neoclassical style, following his contemporaries changes in taste.

The Book of “Decreti from the Archive of the Academy of San Luca, helps us to un- derstand the narrative of the reputation of his name among the artists most renown of that period, allowing us to outline in detail the network of friendships and highly placed connections which contributed to bring him to direct the “Accademia del Disegno first and the “Fabbrica degli Arazzi later. Through the in-depth study of direct sources, like the Diario di Roma and the Giornale delle Belle Arti, it has been possible to give the proper authorship to previous works once ascribed to other authors, like those of the Abatellis Gallery of Palermo, until now be- lieved to have been done by Batoni. Lastly, the examination of the dowry document of his daughter Faustina as well as his last will, bring into evidence both his comfort- able wealth into his later years, as well as the many works for a domestic devotion that were lost.

From this perspective, Concioli emerges as a talented figure of remarkable relevance among the artists of his time both because of the skill of his masters as well as the fact that he was commonly known for his “always warm love of art”.


Alessandra Manca

Mimmo Jodice storico d’arte

Mimmo Jodice is an art historian

 

Photography is a useful tool for the study of  any  work  of  art,  as  demonstrated  by the photo archives of historians as Adolfo Venturi, Pietro Toesca, Roberto Longhi, Federico Zeri, Oreste Ferrari, Corrado Maltese.

Mimmo Iodice is a photographer, “Neapo- litan by birth and choice”. With some of his shots, he spread all over the world images of masterpieces that characterize the arti- stic culture of Naples.

This work begins from an overview of pho- tography of artworks and aims to analyze Jodice career in the period between the Seventies and the Eighties, when he worked alongside art historians such as Raffaello Causa, Cesare De Seta, Filiberto Menna, Angelo Trimarco, and so improved his way of seeing art through his camera. On closer inspection it’s a period not ade- quately examined. Several books were analyzed to complete the survey, in each of them there are photographs taken by Iodice or by other photographers and use- ful for a comparison (:“L’arte nella Certosa di San Martino a Napoli”, “Chi è devoto”, “La Cappella del Tesoro di San Gennaro”, “Arti e civiltà del Settecento a Napoli, “Civiltà del Seicento a Napoli”, “Demoni e Santi. Teatro e teatralità barocca a Napoli”, “Napoli ’84. Fasti barocchi nella fotografia contemporanea”, “Un secolo di furore. L’espressività del Seicento a Napoli”, “Classicismo d’età romana: la collezione Farnese”,“Michelangelo scultore”,“Canova all’Ermitage”). The result is that Iodice hi- ghlights the problems concerning the right point of view of artworks to discover and reveal their qualities and characteristics. He takes photographs that are at the same time explanation, criticism and interpreta- tion of the masterpiece that he observes through the camera lens. His photographs have a critical force that qualifies them as real ‘ecfrasi’.

 

Indice dei nomi e dei luoghi