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Studi di Storia dell'Arte 26 21x30 bross, pp. 296; ill. b/n e col, 205 - ISSN 1123-5683 |
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COMITATO SCIENTIFICO Marcello Castrichini direttore responsabile |
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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 today’s 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
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.
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
(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.
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 revealed new evidences of the influence of diffe- rent Tuscan schools in Liguria and Genoa between the end of 13th and the 14th century - I refer to the panel representing the Virgin with the Child of N. S. del Ponte (Lavagna), which has been attributed to a Sienese painter closed to Ducciesque models, and to the Cimabuesque apsal decoration in N. S. del Carmine and the Virgin with the Child and two saints of San Bartolomeo dell’Olivella (Genoa). In order to obtain a deeper understanding of the strong connection between Liguria and Tuscan in this period, this article puts under scrutiny four fragments of Genoese paintings, executed between the end of 13th and the first decades of the 14th century: the Virgin with the Child and archangels of Santa Maria del Prato in Genoa Albaro, the Christ crucified between the Virgin and saint John the Baptist now in the monastery of Sant’Agata, the Imago Pieta tis of the lower church of San Giovanni di Prè, and the Christ crucified and the Virgin of San Donato.
“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 Franciscan Allegories in the Lower Church of Saint Francis in Assisi for the first time are the subject of a specific study. This article is primarily an overview of the state of the art on the chosen topic and, in view of this specific angle, aims at revisiting some of the issues that have been discussed in the critical history of the work. It is shown that the incompleteness of the cycle was due to the suspension of the works, while waiting for the reconstruction of the nave paintings. Then, the study finds that the procedural differences were similar to those observed in the Vele. It also provides insights into the specific apocalyptic imagery which is especially crucial to the overall iconographic programme and in respect to the history of both the church and the Franciscan order. Moreover, the study reveals not only that the painting of the frames can be dated roughly between 1313 and 1315, but also the Anjou family budding interest in the Basilica that such work bespeaks.
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
Mercy”
in
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
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 “what”
the
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
“Fornarina”
the ce-
lestial
Venus,
namely
the
type
of
love
that
raises the
soul
toward
the
search
for
truth
by
means
of
the
“celestial”
beauty.
This
Venus
differs
from
the
other
Venus,
the “terrestrial”
Venus,
namely
the
generating
power
of
nature,
who
is
connected
with the
terrestrial
beauty and
has
procreation
as
her
goal.
From this
viewpoint,
the “For-
narina”
is
interconnected
with
the
“Velata”,
whom I
identify
as the
terrestrial
Venus,
the
bride, the
mother.
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
The article is focused on Karel van Mande r activity for the nobleman Michelangelo Spada in his palace at Terni thanks to the never before published contract signed by the flemish painter on 1574. This important document reveals all the essential details related to the patron’s intentions to require a copy of the Vasari’s frescoes in the Sala Regia at the Vatican. It also confirms the attribution to van Mander of the narrative cycle with the Battle of Lepanto and the Massacre of the Huguenots. On the basis of the contract we can realize, finnally, that the flemish painter was assisted by Da- niele Rivaldo from Turin who painted the rich grottesche parts of the Michelangelo Spada’s palace decoration
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.
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.
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Rita Randolfi La Resurrezione di Lazzaro di Ribera, già dei Cussida e poi dei Gavotti “romani”, oggi al Prado di MadridThe 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 Ribera’s Raising of Lazarus owned by Pietro Cussida, a Spanish emissary working on behalf of King Ferdinando III. When Pietro’s 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 Cussida’s possessions passed to the Roman branch, Gavotti. Through the Gavotti’s inventories it is possible to follow the ups and downs of Ribera’s 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 Ribera’s
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
Sotheby’s
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 the Third, Prince of Tuscany, set out on a long trip throughout Europe, including Spain, Portugal, England, Holland and France, between 1668 and 1669. The places he visited, which were important for cultural, economic or political reasons, were carefully selected in order to prepare the Prince for becoming the new Grand Duke of Flor- ence. His visit to Spain involved one of the longest journeys, including a stay in Madrid which lasted thirty-three days. He took ad- vantage of this period to enjoy some of the pleasures of the Spanish Court, such as comedies, music, chocolate, perfumes and local delicacies. He also held interviews with Italian ambassadors, nobility and resi- dents, forging links for the future, as well as with the Queen Regent Mariana of Austria and the child king Carlos II, who had been on the throne since 17 September 1665, who granted him a private audience despite the political turbulence of the time caused by the intrigues of Juan of Austria. He also acquired different works of art and luxury items to take back to Florence (including paintings, drawings, books and silverware) and spent long periods of time discovering religious images and relics in churches and convents. He also asked permission to visit the Palaces of the Crown and their rich collections to satisfy his cultural interests. This article deals with the Prince’s visit to the Palace 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.
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 Troppa’s 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
Troppa’s
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
Christie’s,
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).
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”.
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’.
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