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“Maniera Sfumata, Dolce, E Vaga”: the Recent Canonization of Federico Barocci “Maniera Sfumata, Dolce, E Vaga”: La Canonisation Récente De Federico Barocci

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“Maniera Sfumata, Dolce, E Vaga”: the Recent Canonization of Federico Barocci “Maniera Sfumata, Dolce, E Vaga”: La Canonisation Récente De Federico Barocci Perspective Actualité en histoire de l’art 1 | 2015 Varia “Maniera sfumata, dolce, e vaga”: the recent canonization of Federico Barocci “Maniera sfumata, dolce, e vaga”: la canonisation récente de Federico Barocci Arnold Witte Electronic version URL: http://journals.openedition.org/perspective/5818 DOI: 10.4000/perspective.5818 ISSN: 2269-7721 Publisher Institut national d'histoire de l'art Printed version Date of publication: 31 July 2015 Number of pages: 161-168 ISBN: 978-2-917902-26-4 ISSN: 1777-7852 Electronic reference Arnold Witte, « “Maniera sfumata, dolce, e vaga”: the recent canonization of Federico Barocci », Perspective [Online], 1 | 2015, Online since 31 January 2017, connection on 01 October 2020. URL : http://journals.openedition.org/perspective/5818 ; DOI : https://doi.org/10.4000/perspective.5818 “Maniera sfumata, dolce, discoveries grant him a still more central position in the field, especially with respect to research on e vaga”: the recent workshop practice between the Renaissance and canonization the baroque period. Significantly, most recent publications on of Federico Barocci Barocci were written by Italian and Anglo-Saxon scholars. The sole exception to this is Stephanie Arnold Witte Ruhwinkel’s catalogue of Barocci drawings in the Martin von Wagner Museum in Würzburg – which actually is a long-awaited inventory of – ARCANGELI, 2012: Luciano Arcangeli, Federico Barocci: i 2 disegni della Galleria nazionale delle Marche = The Drawings works rediscovered in the 1970s. Still, many of the Galleria Nazionale delle Marche, Rome, 2012. 110 p., recent English and Italian publications in one 100 col. ill.; 25 €. way or another build upon positions first – Federico Barocci, 2009: Federico Barocci, 1535-1612: formulated in the early twentieth century in l’incanto del colore, una lezione per due secoli, Alessandra German debates on the painter and his historical Giannotti, Claudio Pizzorusso eds., (exh. cat., Siena, context, in which he was often mentioned only Santa Maria della Scala, 2009-2010), Cinisello Balsamo, 3 Silvana Editoriale, 2009. 432 p., 270 col. ill. cursorily. Characteristically, Heinrich Wölfflin ISBN: 978-8-83661-423-3; 35 €. considered Barocci as an ent wicklungs ge schicht- – GILLGREN, 2011: Peter Gillgren, Siting Federico Barocci lichen Zwi schen glied or “intermediate stage in [art and the Renaissance Aesthetic, Farnham/Burlington, Ash- historical] development,” as his work mixed gate, 2011. 342 p., 24 col. and 143 b/w ill. stylistic features of the Renaissance and the ISBN: 978-0-75466-868-8; £ 74. baroque. 4 The same goes for Werner Weisbach, – LINGO, 2008: Stuart Lingo, Federico Barocci: Allure and De- who stressed the sentimental value of Barocci’s votion in Late Renaissance Painting, New Haven, 2008. 294 p., 100 col. and 100 b/w ill. ISBN: 978-0-30012-125-4; $ 75. art, and for Nikolaus Pevsner, who considered his figures as governed by abstract schemes, and – MARCIARI, VERSTEGEN, 2008: John Marciari, Ian 5 Verstegen, “Grande quanto l’Opera: Size and Scale in ultimately as austere and lacking in sensuality. Barocci’s Drawings,” in Master Drawings, 46/3, fall 2008, The first monograph on Barocci therefore p. 291-321. started by reconstructing the artist’s oeuvre on the – SCHMARSOW, 2010: August Schmarsow, Federico Barocci, basis of extant works and contemporary sources: un capostipite della pittura barocca, Luigi Bravi ed., with August Schmarsow’s series of articles published an introduction by Andrea Emiliani, Urbino, Accademia Raffaello, 2010 (Italian translation of Federigo Barocci: from 1908 to 1914 fashioned him as the “founder” ein Begründer des Barockstils in der Malerei, Leipzig, 1909). of the baroque style. 6 While Schmarsow mainly 164 p., col. and b/w ill. ISBN: 978-8-87663-465-9; 40 €. discussed the authenticity of Barocci’s drawings, Harald Olsen (in 1955) and Andrea Emiliani The painter Federico Barocci has received re- (in 1974, 1985 and 2008) focused on paintings, newed attention in the last decade: monographs with continuing attention to their relation with and exhibitions manifest an increased interest the works on paper. Both did so on the basis of in his life, work and impact on later artists. The the description of the painter’s artistic process (sub)titles of recent exhibitions such as Brilliance by Giovanni Pietro Bellori, thereby positioning and Grace (London, The National Gallery, 2013), Bellori as a crucial contemporary source on Renaissance Master of Color and Line (Saint Louis the painter. With respect to his position in art- Art Museum, 2012) or L’incanto del colore (Siena, historical development, Barocci was classified as Santa Maria della Scala, 2009-2010) highlighted “proto-baroque” by Olsen, thereby circumventing the visual attraction of his work for the general the (then still unresolved) discussion between beholder 1. Academically, his canonical status has Weisbach and Pevsner. 7 Andrea Emiliani, on the also grown since the early twentieth century, other hand, deemed the stylistic in-between posi- from a mere subsidiary phenomenon for the tion of the painter a mere problem of definition; study of a transitional phase in art history to instead, he argued for viewing him as a “refor- that of an artist in his own right, who is finally mer” working in a situation of cultural and social being recognized in a broader context. Recent upheaval. 8 Notwithstanding the ideological take Lectures 161 Varia 1. Federico on mannerism in his introduction (in which he Barocci, weighed in on the 1960s debate on the period, Madonna del 9 Popolo, 1579, referring in particular Arnold Hauser’s position) , Florence, Galleria the main part of Emiliani’s book consisted of a degli Uffizi. connoisseurial catalogue that maintained the traditional comparison of Barocci’s paintings with preparatory studies on paper. His approach was therefore based on the concept of authenticity, and it also explains why Emiliani, in his introduction to the recent Italian translation of Schmarsow’s foundational text (in SCHmaRSOW, 2010), can still subscribe to his precursor’s monographic approach, wherein the painter’s individual qua- lities were proof of his vorauseilende Genialität (anticipating genius). Barocci as a religious painter From 2000 onwards, the discussion on Barocci shifted towards an evaluation of his work in his- torical, cultural and especially religious contexts, coinciding with the new take on the Counter- Reformation 10. It also signified a step away from Bellori’s stylistic and technical view on the painter towards Giovanni Baglione’s statement Lingo therefore interpreted Barocci’s works that Barocci “led the [beholder’s] hearts back to as either a presentation of an unusual subject in devotion.” 11 One of the most influential publi- a seemingly conventional form – as in the Rest on cations furnishing such a new perspective was the Return from Egypt (c. 1533-1612, Vatican City, Stuart Lingo’s Federico Barocci: Allure and Devotion Vatican Museums) where, according to Lingo, an in Late Renaissance Painting (LINGO, 2008). unfamiliar moment is chosen from an otherwise Its central focus lay on the terms vaghezza and predictable subject matter – or as a traditional divoto, as these had been applied specifically to subject in an unexpected guise – as with the Barocci in Baglione’s contemporary evaluation Madonna del Popolo (1579, Florence, Galleria of his work. Lingo explains these terms in degli Uffizi; LINGO, 2008, p. 225-231; fig. 1). the context of late Cinquecento art criticism, Thanks to Barocci’s self-chosen retreat in Urbino showing how they traditionally resulted in – as a result of his illness – there are many letters opposite demands: a painter might produce documenting the dealings between the painter devout works adhering to religious decorum, and his patrons in which this tension (and also, but these often lacked visual attraction that Lingo states, his artistic persona) becomes visible. might “lure” the beholder into admiration, In other compositions as well, Barocci inserted while vaghezza equaled lasciviousness and thus innovative elements meant to capture the atten- clashed with devotional expectations (LINGO, tion of those beholders who were aware of the 2008, p. 6-7, referring to Baglione, 1642, cited contemporary debates on art, while at the same n. 11, p. 134). Lingo applied this dichotomy to time following traditional schemes that satisfied Barocci’s work, regarding his paintings as the his ecclesiastical patrons who needed liturgically outcome of a continuous exchange between effective works. Although Lingo does not draw artistic development and religious demands this conclusion, it is tempting to say that Barocci in the late sixteenth century – or, phrased mediated between the formalistic stylistic currents differently, as the product of a constant and of late mannerism and the religious demands of productive tension between archaizing and the Counter-Reformation – a tension that was innovative tendencies. resolved in the early baroque; and in this sense, 162 PERSPECTIVE 1 | 2015 Federico Barocci Lingo’s work could be seen as a return to the cen- led to new insights; some were meant to display tral issue in the Pevsner-Weisbach discussion, but the holdings in particular museums or countries with recent insights on the Counter-Reformation to a wider audience. Furthermore, no publi- and in a much more detailed interpretation. cation – not even those dealing primarily with Barocci’s paintings – has resisted the temptation “Ricorreva sempre al natural”: Barocci’s to relate the drawings to Bellori’s report. workshop practice An example of this focus on Barocci’s draw- Another recurrent focus that has recently attrac- ings is the catalogue of drawings in the Galleria ted growing attention in the study of Barocci’s Nazionale delle Marche in Urbino by Luciano work is the artistic process; this is sparked by the Arcangeli (ARCANGELI, 2012). The author exceptionally large number of studies and prepa- relates the provenance of 166 drawings from the ratory designs that have survived. 12 Bellori’s me- painter’s studio, via his pupil Antonio Viviani.
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