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Lupo di Francesco a Empoli e Tino di Camaino a Pisa e Siena: nuove proposte
No full textLa Collegiata di Sant’Andrea a Empoli conserva al proprio interno un antico Crocifisso in legno dipinto, celebre alla devozione dei fedeli fin dal 1399. Il saggio propone di riconoscere l’autore della scultura in Lupo di Francesco, seguace del grande Giovanni Pisano, che fu tra i principali protagonisti della scultura gotica in Toscana, e non solo, nei primi decenni del Trecento. In aggiunta all'analisi del Crocifisso di Empoli, il saggio propone di attribuire a Tino di Camaino alcune interessanti opere, note alla storiografia ma fin qui tralasciate o diversamente interpretate: il Crocifisso ligneo proveniente dal convento dei Cappuccini di Pisa e oggi a Firenze, nel Museo Provinciale dei Frati Minori Cappuccini; la testa lignea della Vergine rimontata sulla statua seicentesca dell’Annunciata presso la chiesa della Santissima Annunziata di Siena; un rilievo in marmo col Cristo in pietà oggi nel Museo dell’Opera del Duomo di Pisa, e tre rilievi con ornamenti fitomorfi ubicati a Pisa, tra il Palazzo dell’Opera del Duomo e via San Giuseppe.The Collegiata di Sant’Andrea in Empoli preserved an ancient wooden painted Crucifix, known to observants since 1399. The essay proposes the attribution of the sculpture to Lupo di Francesco, a pupil of Giovanni Pisano, one of the most important protagonist of the gothic sculpture in Tuscany and abroad, active in the first decades of the 14th Century. Furthermore, the author attributed to Tino di Camaino other interesting works, known to historiography but omitted or otherwise interpreted: the wooden Crucifix of the Cappuccini convent in Pisa, preserved today in the Museo Provinciale dei Frati Minori Cappuccini in Florence; the wooden head of the Virgin reassembled on the 17th Century statue of the Virgin announced in the Santissima Annunziata church in Siena; a marble relief of a dead Christ today in the Museo dell’Opera del Duomo in Pisa, and three marble reliefs with phytomorphic motifs in Pisa, between the Opera del Duomo Palace and Via San Giuseppe
Il ‘Giovane platonico’ di Bertoldo di Giovanni, ovvero il ritratto di Giovanni Cavalcanti, “amico unico” di Marsilio Ficino
No full textThe ‘Platonic youth’ by Bertoldo di Giovanni, or the ‘Portrait of Giovanni Cavalcanti’, the “amico unico” of Marsilio Ficino.
The article proposes a philological reinterpretation of the bust of the ‘Platonic youth’ of the Bargello in Florence, a very famous bronze work in the history of Florentine Renaissance art which a long tradition of scholarly studies has attributed to the great Donatello. The study aims to reveal the bust’s authorship
and the identity of the figure portrayed through a detailed examination of the work’s collectionistic history, formal aspects and the complex symbolic device described by the medallion displayed by the person represented, depicting the Platonic allegory of the chariot of the soul.
Given the scope and complexity of the subject, the article addresses these questions in stages and from various angles, dividing the narrative into four basic sections. The first traces
the history of the bust’s ownership and its historiographical fortune, from its early appearance in the Guardaroba of Grand Duke Cosimo I de’ Medici to its final arrival in the Bargello, with a debated attribution to Donatello.
The second involves a detailed analysis of the medallion and aims to illustrate its meaning and Donatellian origin. The analysis of
this figurative document reveals the mystery of the work itself, allowing the sculpture to be understood in the broader context of Florentine disputes on matters of the soul and philosophical love, inspired by the passionate rediscovery in Florence of Plato’s texts
promoted by Cosimo the Elder and carried out by Marsilio Ficino. This is followed by a stylistic analysis of the bust, functional to the
identification of its real author as Bertoldo di Giovanni, the Medici sculptor, pupil of Donatello and future custodian of the Giardino
di San Marco. Considerations arising from an analysis of the medallion guide the final stages of the research, with a connected series of indications emerging from Florentine historical and literary sources helping to identify the person portrayed in the bust as Ficino’s closest and dearest friend, the twenty-year-old philosopher Giovanni di Niccolò Cavalcanti
Benedetto da Maiano: due proposte per il catalogo delle terrecotte
No full textBenedetto da Maiano: two proposals for the catalogue of terracottas.
An intense and expressive image of ‘Mary Magdalene’, today in the deposits of the Fondazione Federico Cerruti per l’Arte (Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin), may be included in the illustrious iconographical tradition of the Florentine ‘Mary Magdalenes’ of the Quattrocento. The authorship and provenance of this considerable sculpture, modelled in terracotta and painted, were unknown.
The present study retraces the complex sequence of events relating to the work, associating it on stylistic grounds with the later activity of the Florentine sculptor Benedetto da Maiano (Maiano 1441 - Florence 1497), and recomposing the vicissitudes relating to its provenance, now identifiable thanks to documents in the complex of Santa Elisabetta “delle Convertite” in Florence, whose coenobium was used as a shelter for repentant prostitutes up until the early 19th century.
The article also proposes to assign another famous work to the catalogue of terracottas by Benedetto da Maiano, the bust of ‘Saint Antonino Pierozzi’ today in the right transept of the basilica of Santa Maria Novella, one of the most important portraits of the archbishop of Florence whose authorship has for long remained uncertain
I Del Tasso, maestri della cornice del Tondo Doni, e il Crocifisso della Misericordia di Montepulciano
No full textThe Del Tasso workshop, carvers of the Tondo Doni frame, and the ‘Crucifix’ of the Misericordia of Montepulciano.
The article focuses on one of the most debated and complex issues in the area of studies on Florentine wooden sculpture of the Renaissance: the activity of the woodcarvers of Michelangelo’s Tondo Doni frame, the sons of Domenico del Tasso, Marco and Francesco. These well-known masters had contacts with the most established carving workshops in Florence between the 15th and 16th century: that of the brothers Giuliano and Benedetto da Maiano, and that of the brothers Giuliano and Antonio da Sangallo the Elder.
The present paper adds a new sculpture to the limited corpus attributed to the carvers of the Doni Tondo frame: the wooden ‘Crucifix’ in the oratory of Sant’Emidio in Montepulciano, seat of the Archconfraternity of the Misericordia
Francesco di Giorgio: il busto fittile di San Bernardino a Fontegiusta e un riesame delle sculture giovanili
No full textOltre «li mirabil fogliami»: testimonianze dell’attività di Ambrogio Barocci come ritrattista
No full textThe essay deal with the significant contribution of the Lombard sculptor Ambrogio Barocci (also known as Ambrogio da Milano) in the field of portraiture. This part of the artist's career has remained relatively unexplored in scholarly studies until now. However, thanks to recent discoveries and documentary evidences, this aspect is emerging as crucial in his artistic activity.
The text begins with a comprehensive analysis of the profile portrait of Federico da Montefeltro, Duke of Urbino, which during the 19th Century became part of the National Museum of Bargello collection in Florence. This marble bas-relief is significant, not only because it is one of the most notable portraits of the Duke, but also by virtue of the long-debated question about its authorship. The essay devotes an almost monographic section to this portrait, presenting for the first time the attribution to Ambrogio Barocci. This identification is based on stylistic analysis and documentary evidences that demonstrate the origin of the work from the Marche region, where Barocci has been active for an extended period.
Furthermore, a second proposal for attribution to Barocci is made, and it is related to the “Portrait of a Young Man” in marble, previously part of the Altman collection and now housed in the Metropolitan Museum of Art in New York. This hypothesis suggests that Barocci also sculpted portraits in the form of busts
Alcuni chiarimenti sull'attività giovanile di Taddeo di Bartolo e il caso del polittico Casassi di Pisa
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