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Il Patrimonio Artistico Del Quirinale. Vol.I: Pittura Antica

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Il Patrimonio Artistico Del Quirinale. Vol.I: Pittura Antica Review Reviewed Work(s): Il patrimonio artistico del Quirinale. Vol.I: Pittura antica. La quadreria. Vol.II: Pittura antica. La decorazione murale by Giuliano Briganti, Laura Laureati and Ludovica Trezzani Review by: Silvia Ginzburg Source: The Burlington Magazine, Vol. 140, No. 1138 (Jan., 1998), pp. 46-47 Published by: Burlington Magazine Publications Ltd. Stable URL: http://www.jstor.org/stable/887749 Accessed: 21-07-2017 12:55 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Burlington Magazine Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Burlington Magazine This content downloaded from 159.149.175.7 on Fri, 21 Jul 2017 12:55:03 UTC All use subject to http://about.jstor.org/terms BOOK REVIEWS whelmingwhelming success success and wereand followedwere followedabout by thehalf- artistic by situation half- in and around portraits) after thethe buildingbuilding becamebecame thethe lengthlength philosophers philosophers and beggars. and beggars. Brescia.Bellotti Since Bellotti 1976 he has been publishing official residence ofof thethe ItalianItalian monarchy.monarchy. seemsseems to to have have made made a finished a finished drawing almost drawing ofyearly a his punctiliousof a researches onThe individual entriesentries areare strongstrong onon prove-prove- headhead (?and (?and of ofhands) hands) from fromlife, and thatlife, to subject, have and and to this have book will be a stand-by nance and give up-to-dateup-to-date bibliographiesbibliographies usedused it it for for numberless numberless versions versions of for varying art-historical of varying reference. Unfortunately for it paintings thatthat areare sometimessometimes veryvery littlelittle qualityquality and and price price for afor growing a growing market. is not market.easy to consult, because the text isknown and some ofof whichwhich havehave nevernever pre-pre- Bellotti'sBellotti's contemporaries contemporaries were thrilled werearranged thrilledby by subject bymatter (Self-portraits, viously been reproduced.reproduced. ThereThere are,are, ofof thethe painstaking painstaking reproduction reproduction of Fates,wrinkles, ofHistory, wrinkles, Anatomy, Philosophers...) course, many famousfamous worksworks asas well:well: thethe flabbiness,flabbiness, emaciation, emaciation, and his and aim and his was each aim tochapter was is like to a lecture, in which Madonna and ChildChild byby Lotto;Lotto; thethe MadonnaMadonna andand provideprovide just just that. that. His purposeHis purpose when the lecturer paint- when assumes paint- that the audience is saints, here confirmed asas byby InnocenzoInnocenzo Tac-Tac- inging Medea Medea andJason andJason was to was show to a showmalenew to nude athe male topic ornude has forgotten what hadconi, in which thethe landscapelandscape isis almostalmost wor-wor- witheringwithering on onone oneside andside blooming and beenblooming on said the before. on In thechapter after chapter, thy of Annibale CarracciCarracci andand comparablecomparable other.other. Did Did he heever ever feel thefeel ascetic the the asceticdignity reader is confronteddignity with the same quo- with the background ofof thethe HerreraHerrera altar-altar- thatthat often often flickers flickers through through a decaying tations,a decaying body? the same body? illustrations, the same piece now in S.S. MariaMaria didi Monserrato;Monserrato; thethe WereWere the the few few 'emblematic' 'emblematic' figures arguments,figures he paint- hein a paint-slightly modified context. two exceptional youngyoung saintssaints byby VouetVouet eded thatthat move move us todayus today in the in least the movingThe least topographical tomoving index to lists 171 pictures which emerged atat thethe monographicmonographic exhibi-exhibi- him?him? One One cannot cannot help helpwondering wondering (mostly whether homeless), whether provides small black-and- tion devoted toto thatthat artistartist inin 1991;1991; andand thethe theythey turn turn out out to be to striking be striking human white testi- humanreproductions testi- and refers to the better magnificent altar-piecealtar-piece byby LanfrancoLanfranco exe-exe- moniesmonies for for us becauseus because of his of indifference his platesindifference into the text. Theto relevant commentary cuted for the QuirinalQuirinal whenwhen thethe painterpainter waswas his sitters - in short because of his lack of to each item must be searched for at random working in the SalaSala RegiaRegia andand rediscoveredrediscovered empathy and imagination. Oddly enough, in the various chapters. The index of names by Briganti in 19621962 -- asas werewere thethe Annuncia-Annuncia- in his two self-portraits he carefully is neither 'analytic' nor complete. tion by Maratta andand thethe delicatedelicate latelate BatoniBatoni eschewed psychological insight. There, he LUISA VERTOVA Mystic marriage ofof StSt Catherine.Catherine. distorted his features into jocular metaphors A Savoy provenance hashas nownow beenbeen estab-estab- of 'Stupore' and 'Allegria' - a trick which lished for a St JohnJohn thethe BaptistBaptist withwith anan angelangel enabled him to promote his skill as physiog- attributed to BernardoBernardo Castello,Castello, thethe twotwo nomist, as well as popularising a mask of canvases by Sebastiano RicciRicci andand thethe seriesseries himself, in duly duplicated, fashionable 'teste of six overdoors withwith storiesstories ofof iEneasiEneas byby di carattere o di capriccio'. IIII patrimonio patrimonio artistico artistico del Quirinale. del Quirinale. Giaquinto. There areare alsoalso somesome previouslypreviously Bellotti flaunted his ability as a portraitist Vol.I: Pittura antica. La quadreria. unpublished picturespictures andand newnew attributions:attributions: but his supposed call to Paris by Cardinal Vol.H: Pittura antica. La decorazione these include aa CaravaggesqueCaravaggesque StSt Jerome,Jerome, Mazarin is doubtful, and his work for the murale. Edited by Giuliano Briganti, proposed as possibly French,French, whosewhose authorauthor Duke and Duchess of Bavaria (well docu- Laura Laureati and Ludovica Trezzani. seems rather closeclose toto Douffet;Douffet; aa probableprobable mented byJutta Rosengarten in her supple- 335 and 245 pp., both including numerous self-portrait byby GiovannaGiovanna Garzoni;Garzoni; aa redis-redis- ment) was limited to thirty-six working days. col. and b. & w. pls. (Electa, Milan, 1993), covered bozzetto forfor aa frescofresco byby Baciccio;Baciccio; He knew how to elicit publicity from the L.It.250,000. four canvases attributed to Brescianino literati and how to ingratiate himself as a delle Battaglie, and two paintings ascribed courtier, but his effigies are conventionally These two volumes on the mural decora- to Giuseppe Nogari. proper and dull. He made a living in Milan tions and collection of paintings at the The very interesting volume dedicated to as art teacher to the Spanish governor Quirinal go well beyond what might be the mural paintings allows one to follow the (1670-74) and was appointed by Carlo Fer- expected of an up-to-date catalogue of the whole sweep of the curiously changeable dinando Gonzaga of Mantua as Superin- important contents of a somewhat inacces- path followed by papal patronage at the tendent of his (depleted!) galleries from sible building. It was the late Giuliano Bri- Quirinal from the beginning of the seven- 1681 onwards. According to Isabella Lechi, ganti who, in a celebrated volume published teenth to the end of the eighteenth century. who offers a survey of art collecting in some thirty-five years ago, first mapped out The first major campaign, initiated by Northern Italy, no mention can be found of the attributional problems, confirmed the Paul V, was outstanding for its breadth pictures commissioned from Bellotti by the participation of various artists, and estab- and grandeur, including Bolognese as well Duke of Mantua; nor does Bellotti's name lished the chronology of this major artistic as Caravaggesque painters at a time when turn up in the inventories of historic collec- monument. In initiating the new series of no dichotomy between their styles was yet tions in Venice and Verona. His work tend- Quirinal catalogues of which these two vol- felt. From Reni to Lanfranco and Saraceni, ed to attract the Austrian and Spanish umes form part, he was determined that the artists summoned by this Borghese pope ambassadors in Venice (Count HJ. Czernin they should benefit from a return to first left in the Quirinal an extremely valuable and the Marquis of Mancera), new collec- principles and should take the opportunity testimony to the development of painting in tors on the make, or plain merchants such as to confront unresolved questions in the light Rome during the first two decades of the Paolo del Sera, who hunted down old mas- of advances in knowledge made during the Seicento. ters but also kept abreast of new trends. Sev- intervening years. He did not, alas, live to Richly illustrated, the catalogue entries eral pictures ended up in the Accademia dei complete the task, and his collaborators, on the major Seicento
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