Studi di Storia dell'Arte 31
21x29,7 bross, pp. 276; ill. b/n e col, 2019 - ISSN 1123-5683 - € 60,00
Liliana Barroero, Giovanna Capitelli, Stefano Casciu, Stefano Causa, Enrico Maria Dal Pozzolo, Cristina De Benedictis, Cristina Galassi, Gert Kreytenberg, Francesco Federico Mancini, Enrica Neri Lusanna, Steffi Roettgen,
Pietro Ruschi, Erich Schleier, Nicolas Schwed, Angelo Tartuferi, Anchise Tempestini.
Marcello Castrichini direttore responsabile
“fece ancora alcune opere in Cortona”. Per la cronologia della Maestà e degli affreschi della chiesa di Santa Margherita di Pietro Lorenzetti
This paper proposes with new topics that the Maestà of Pietro Lorenzetti (Cortona, Museo Diocesano) can be dated to 1312. This cronology is supported by the fact that Guido Tarlati from Arezzo was elected bishop of the diocese of Cortona, Arezzo and Città di Castello in that year. Therefore, this panel seems to have been a tribute to the town of Cortona, confirming Tarlati's benevolence towards this Tuscan center on the occasion of his episcopal settlement.
Eight fresco fragments from the church of Santa Margherita in Cortona also are considered. Three fragments, representing Christ carrying the cross and the head of a hermit saint, to be identified with Saint Jerome, are reconfirmed to belong to the youthful activity of Pietro Lorenzetti. For their date argued between 1313 and 1315, these mural paintings precede, therefore, the frescoes of the lower church of Assisi. The other four fragments, depicting Scenes of the Old Testament and two decoration friezes, are attributed to the school (workshop) of Pietro Lorenzetti and dated around 1335. This dating is remembered by Vasari in relation to the lost Scenes of Santa Margherita, painted in the same church by Ambrogio Lorenzetti.
Un San Giovanni Battista di Nino Pisano
Nino Pisanos Figur von Johannes dem Täufer (figg. 1, 2, 5, 7-8) ist perfekt erhalten bis auf den unteren Teil der Beine und Füße, die unter dem Fellkleid sichtbar gewesen sein müssen, wie ein Vergleich mit den entsprechenden Statuen (figg. 3-4) von Andrea und Tommaso, Vater und Bruder, nahelegen. Die verlorene Partie dürfte aus einem separaten Marmorblock gearbeitet gewesen sein, worauf auch Spuren von zwei Eisenklammern am unteren Rand der Rückseite hindeuten. Die plane Rückseite mit einer metallenen Öse im oberen Bereich lässt erkennen, dass die Figur zusammen mit einem ebenfalls planen Hintergrund, in dem sie verankert war, konzipiert worden ist.
Zweifellos war Andreas Statue des Täufers das Vorbild für Ninos Figur. Die Gesten der Hände beider Figuren gleichen einander. Während der Zeigefinger der rechten Hand auf jemanden – Christus – weist, zeigt jener der linken Hand auf das Schriftband, dessen Text zwar gelöscht, aber zu erschließen ist: Ecce Agnus Dei. Andreas Täufer steht an der Seite der Madonna mit dem Christuskind und sein Pendant ist Petrus. Dabei repräsentiert Johannes den Alten Bund, der den Erlöser Christus erwartet. Christus in Gestalt eines Kindes hebt die Bedeutung der Gottesmutter für die Heilstat des Gottessohnes hervor. Und Petrus steht für den Neuen Bund und die Kirche. Auch Ninos Täufer könnte aus einem solchen Kontext stammen.
Die Figur Johannes des Täufers fügt sich spät in Ninos Oeuvre ein, das sich über drei Dekaden von ca. 1335 bis zu seinem Tod 1368 erstreckte und vor allem in Florenz bis 1340-1341 und danach in Pisa entstand. Die nächste künstlerische Beziehung der Figur des Johannes (figg. 1, 8) besteht zu den Skulpturen (figg. 7, 9) des Grabmals für den Pisaner Erzbischof Giovanni Scherlatti, die 1362-1363 zu datieren sind (figg. 6, 9).
The sculpture depicting Saint John the Baptist by Nino Pisano (figs. 1, 2, 5, 7-8) is perfectly preserved with the exception of the lower part of the legs and feet, which could most likely be seen under his fur garment, as suggested by a comparison with some equivalent statues by Andrea and Tommaso (figs. 3-4), his father and brother, respectively. The lost part was probably sculpted from a second block of marble, as indicated by traces of two metal brackets affixed on the back near the lower edge. The flat back of the sculpture, which bears a metal ring on the upper part of its surface, reveals that the statue was designed alongside a flat ground to which it would have been fastened.
There is no doubt that the figure of the Baptist made by Andrea served as a model for Nino's figure. In both figures, one notes similarities in the hand positions. While the right index finger points to a person, Christ, that of the left hand indicates the inscription whose text, though all but illegible, can be deduced: Ecce Agnus Dei. Andrea's John the Baptist stands besides the Virgin with Child; on the other side is his companion figure, Peter. Thus John the Baptist represents the Old Covenant awaiting the saviour, Christ. Portrayed as a child, he highlights the importance of the Mother of God in relation to the Son's act of salvation. Peter, on the other hand, represents the New Covenant and the Church. Nino's figure may also derive from such a context.
The figure of John the Baptist belongs to a later period in Nino's oeuvre, which encompasses three decades from about 1335 until his death in 1368, most of his works having been made in Florence until 1340-41 and afterwards in Pisa. The greatest similarities to his figure of John the Baptist are found in the sculptures that are part of the tomb of the Archbishop of Pisa, Giovanni Scherlatti, dating to 1362-63 (figs. 6, 9).
Un Profeta e una Sibilla in cerca d’autore, significato e contesto. Osservazioni su due dipinti “belliniani” trascurati
In the past given to various Venetian artists of the late 15th century, the life-size painting of a Sibyl in the Uffizi gallery can be attributed to Niccolò Rondinelli from Ravenna while the author of its companion piece in the same museum representing an up-to-now undetermined Prophet remains rather difficult to grasp. A far more interesting question however is constituted by the iconography of the two canvasses which originally seem to have served as organ shutters. The little dog of the female personage is in fact a very unusual attribute for a Sibyl which probably underlines her role as a pagan seer and the three books may justify an interpretation as the Tiburtine Sibyl, whereas the male pendant can be convincingly identified as Daniel. Taken into account the latter’s prophecy of the Last Judgement in the homonymous book of the Old Testament, the two pictures might thus have referred to the apocalyptic fears widely spread in Italy during the last years of the Quattrocento
La preistoria di Raffaello e una luce su Evangelista di Piandimeleto
This paper studys the early Raphael’s works, before the Baronci Altarpiece. One can see how the painter often provided drawings for other artists and how this practice suggested him to study especially the works of Signorelli, Pintoricchio and, of course, Perugino.
Also his collegue Evangelista di Piandimeleto, who is documented together with Raphael for the commission and the payments of the Città di Castello’s altarpiece with the Glory of Saint Nicola da Tolentino, could use Raphael’s drawings. Evangelista was a painter who worked always in collaboration with other artists, the same Raphael, then Timoteo Viti and, after his death, with the son of Timoteo, Piervita. Evangelista seems to be always subordinate to them and this is the reason of the difficulties to find a real catalogue.
Fragments of the Baronci Altarpiece of Naples and Paris are of lower quality compared to the Angel of Brescia and these constitute the basis of the new corpus of paintings. Close to them I can indicate other six painting, including, at the beginning of the series, the Stendardo della Trinity in Palazzo Vitelli alla Cannoniera in Città di Castello.
La spada e le ali di san Michele. Guidubaldo da Montefeltro e il dittico di Raffaello nel Musée du Louvre
This article is dedicated to the diptych by Raphael, depicting St. George Fighting the Dragon, and Saint Michael Overwhelming the Demon (Paris, Musée du Louvre, 609). The Historiography identifies the patron of this artwork in Guidubaldo da Monte-feltro (1472-1508) – or his sister Giovanna Felicita Feltria (1463-1513) – to celebrate the investiture of the Duke as knight of The Most Noble Order of the Garter (1504), and his nephew Francesco Maria della Rovere (1490-1538), as knight of the French Order of St. Michael (1503).
In this article, it is proposed to associate the image of the Archangel with the Nea-politan Aragonese Order of St. Michael (know as Order of the Ermine, founded by King Ferdinand I in 1465), which Federico da Montefeltro (1422-1482) obtained in 1474, together with his natural son Antonio (1445-1508).
The Duke and his step brothers, united by a solid bond, were probably the patrons of the Raphael’s diptych. Alongside the filial memory for Federico - who was a knight of St. George and St. Michael - the diptych as an ex-voto to consecrate the Montefeltro's reconquest of the Duchy of Urbino (August 28, 1503), previously invaded by Cesare Borgia (June 21, 1502).
Temi leonardeschi fra il Nord Italia e le Fiandre
In this paper, I will discuss several aspects regarding Leonardo Da Vinci's artistic production. First, I will describe the profound Leonardesque influence on the young (Antonio) Correggio’s works. Second, I will report new proposals of Da Vinci’s influence both on Cesare Magni and Francesco Napoletano. Particular emphasis will be given to the latter author and his recently discovered “Virgin and Child”, published for the first time in this essay.
Finally, I will present the case of Francesco da Milano who looked to both Leonardo and Durer for inspiration. The union of two of the most influential masters was a great influence not only for artists throughout the Renaissance in Italy but also for Flemish and German painters like Altdorfer.
Alcuni inediti o poco noti dipinti a chiaroscuro di Antonio Tempesta dalle collezioni nobiliari romane del Seicento
Arriving in Rome from Florence during the pontificate of Gregory XIII, Antonio Tempesta painted numerous frescoes in the Vatican papal palace and on commission from illustrious prelates. Towards the end of the Sixteenth Century, the artist became famous for his strong inventive skills in the production of prints depicting scenes of hunts and battles. At the same time the Florentine began to be assiduously employed by refined collectors for the execution of precious stone paintings. Although these aspects of Tempesta's activity have already been extensively investigated, this study intends to shed light on the painter's little-known production of easel paintings. In particular, some unpublished monochrome paintings by Tempesta executed between 1595 and 1630 are presented. Retracing the stylistic progress of the artist, the author investigate his relationships with the most illustrious clients of the time and the presence of his grisailles in the most important Roman noble collections, including the Giustiniani, the Colonna and the Peretti Montalto.
L’iconografia del cardinale Marco Sittico Altemps Da ignoto lombardo a Cati, da De Magistris a Leoni, da Pulzone a Bays. Con l’inventario Altemps del 1618-19
In the article all known portraits of Cardinal Mark Sittich von Hohenems (1533–1595) are discussed. While the earliest of them, an anonymous German painting dated 1556 belonging to Count Waldburg-Zeil at Hohenems, represents him as a twenty-three-year-old Landsknecht, he appears already as a cardinal in a portrait by an unknown master working in Rome, formerly in the Art Museum of Philadelphia and now in the Calvesi collection in Rome. This painting, that must be dated shortly after his nomination in 1561, shows him standing in three-quarter length and was the model after which at least two derivations were made. One of them is in the Borromeo collection at the Isola Madre on Lake Maggiore, while the other is included in Pasquale Cati’s ‘historical’ double portrait of Mark Sittich with his uncle Pope Pius IV, hanging above the altar in the Altemps chapel in Santa Maria in Trastevere in Rome since 1589. The Cardinal is considerably older in a seated half-length portrait, dated 1584, in the Museum of Polička in the Czech Republic, here attributed to Simone De Magistris. After this portrait, Ottavio Leoni took the head in his posthumous standing full-length portrait of 1612-13 in the Castle of Gallese near Rome, an old copy of which is also at Polička. Finally, a bust-length portrait of Cardinal Hohenems, datable to 1576-78 and recently purchased by a private collector of New York, is published here as a work by Scipione Pulzone. The image it represents was reproduced by Anthony Bays in his large Banquet of the Hohenems Family of 1578, now in the Museum of Polička. In the Appendix, the 1618-19 Altemps inventory of paintings is thoroughly transcribed from the manuscript in the Newberry Library of Chicago. Keywords: Mark Sittich von Hohenems, Pasquale Cati, Jacopino del Conte, Simone De Magistris, Ottavio Leoni, Scipione Pulzone, Anthony Bays.
Uno Jesu e San Giovanni di Giovanni Baglione
A painting that some years ago passed through the art market with the attribution to Spadarino, on a more in-depth analysis reveals an autograph work by Giovanni Baglione. The painting represents the Meeting of Jesus and John the Baptist, a very common subject among Florentine painters of the Renaissance, and this identification of the episode allows us to recognize a work mentioned in the inventory drawn up at Baglione's death that is not yet identified. The painting is important in relation to the religious imagination of the seventeenth century; moreover, it inspired Guido Reni in one of the masterpieces of his maturity, the Meeting of Jesus and John the Baptist that the Bolognese painter sent to Naples in 1629. The interest of scholars in Baglione has shifted in recent years from the competition with Michelangelo Merisi towards a more exact understanding of the characteristics that make him a a prominent personality in the seventeenth-century art scene. In this sense, the Meeting of Jesus and John painted around 1625 testifies to the originality of the painter's iconographic choices, since this subject is not otherwise known in the Roman painting of his time.
Maria Cristina Chiusa
In recent years, there has been a
growing interest, primarily among Northern Italian private
collectors and antiquarians, in 18th-century Bolognese landscape
painting. This phenomenon has been accompanied by a parallel
increase in academic publications on this subject.
Maria Barbara Guerrieri Borsoi
Two paintings by Domenico
Fiorentini in Ottoboni sacristy of St. Peter in the Vatican
The bicentenary of the birth of the
connoisseur Giovanni Battista Cavalcaselle in 2019 offered the
pretext for a deep investigation into his contribution to the
historical-artistic studies of Umbria. Here is presented the case
study concerning Montefalco through the related sheets of Cod. It.
IV, 2037 (= 12278), notebook X (nowadays preserved in the Marciana
Library in Venice). The study was carried out on the basis of an
examination of the Cavalcaselle’s notes, which were specially
transcribed and constantly compared to the Italian version of the
New history of painting in Italy. This side-by-side comparison
underlines the importance of the Venetian sheets, which often offer
unpublished, valuable and additional information to the printed
text. This article shows Cavalcaselle’s attention for more hidden
works too, even in some remote Church in the surrounding area such
as Sant’Elisabetta in Vecciano. The traveller’s research path also
includes the Church of San Francesco and the Collegiate Church of
San Bartolomeo. The study also sheds light on the interspersed loose
sheets in the Venetian notebook, which have not been written by
Cavalcaselle and whose authorship has been recognized to Filippo
Fiscali in the course of this investigation.