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L'imagination Inventive De Francesco Salviati

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L'imagination Inventive De Francesco Salviati Entre espaces de création et réseaux de production: l’imagination inventive de Francesco Salviati (1510-1563) Nelda Damiano Department of Art History and Communication Studies McGill University, Montreal March 2011 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy Copyright 2011 by Damiano, Nelda All right reserved 1 Table des matières Résumés 3 Remerciements 5 Abréviations 6 Liste des illustrations 8 Introduction 13 Historiographie De l’effacement à la redécouverte : la volte-face de l’opinion moderne 20 Partie 1 Superficie / espace I. San Francesco a Ripa 41 II. San Marcello al Corso 49 III. San Giovanni Decollato 61 Partie 2 Collaboration / expérimentation I. Positionnement social/géographique 104 II. Venise, entre Aretino et Marcolini 108 III. Rome: un traité d'anatomie et une dédicace à François 1er 128 IV. Florence et les ateliers de tapisserie 135 V. Rome et le marché de l'image gravée 154 VI. Un retour aux sources: l'artiste et l'orfèvrerie 164 Conclusion 168 Appendice A 170 Bibliographie 189 Illustrations 2 Résumé Ma recherche se concentre sur l’artiste florentin Francesco Salviati (1510-1563). Tout particulièrement, mon étude cherche à mieux comprendre les traits caractéristiques de son œuvre, dans ses particularités et dans son ensemble. En analysant son parcours, on constate que celui-ci est ponctué de projets allant de la peinture à fresque, au tableau d’autel, en passant par la gravure et les dessins destinés aux objets d’orfèvrerie. Il s’agit alors de discerner l’approche préconisée par Salviati. Est-ce que celui-ci crée en huis clos ou décide-t-il de transiger avec des artistes qui s’adonnent à une forme d’art qui lui est étrangère? La polyvalence dont il fait preuve nous indique clairement qu’il embrasse les possibilités de collaboration qui s’offrent à lui au gré de ses déplacements, que ce soit avec des graveurs, des lissiers ou des éditeurs. En défiant sans cesse les limites techniques et formelles des matériaux avec lesquels il travaille — sur une petite ou grande échelle — Salviati fait du potentiel expressif de l’objet une priorité. Ma thèse examine donc les nombreuses techniques et oeuvres créées par l'artiste et la façon dont ce travail diversifié lui permet de s’insérer, sinon de se distinguer, dans les réseaux de production de l'époque. Dans un cadre plus large, cette étude nous invite à repenser le caractère arbitraire des courants stylistiques que l’histoire de l’art impose encore aujourd’hui et ainsi revoir les attentes que nous avons face aux artistes appartenant à l’un de ces courants et à leurs productions artistiques. 3 Abstract This dissertation focuses on the Florentine artist Francesco Salviati (1510–1563) with an aim to better understand the characteristics of his work. An analysis of the artist’s production reveals that it is punctuated by a variety of projects, encompassing a wide range of media and format or scale. His oeuvre includes fresco paintings and altarpieces as well as drawings for prints and decorative arts. The question is whether Salviati advocated a specific approach: did he work in isolation, or did he collaborate with artists who specialized in art forms that were unfamiliar to him? His versatility clearly suggests that he was inspired by opportunities to collaborate with a variety of artists such as engravers, weavers or printers whom he met in his travels. By continually challenging the technical limits and formal surfaces – small or large scale – upon which he worked, Salviati made the expressive potential of an object a priority. This paper investigates the myriad techniques and new modes of expression the artist used, as well as the many works he created, to examine how his diverse body of work positions him, if not distinguishes him, within the broader artistic network of the day. In a broader context, this study invites us to reconsider the arbitrary character of stylistic categories that art history continues to impose today, and to re-examine what we expect artists associated with such movements to produce. 4 Remerciements L'élaboration d'une thèse requiert l'aide de plusieurs personnes en cours de route et il serait difficile de remercier ici tous les gens qui m'ont permis de mener à terme ce projet. Je souhaite toutefois souligner le soutien financier de l'université McGill, en particulier celui obtenu grâce au J.W. McConnell Memorial Fellowship et McCall MacBain Fellowship. Également, les bourses offertes par l'Ambassade d'Italie au Canada ont grandement facilité la poursuite de mes études. Je remercie à ce sujet Patricia Buccero et Rosa Maio. Tous ces fonds ont rendu possible entre autres la consultation d'importantes archives à l'étranger. Je tiens avant tout à remercier Bronwen Wilson pour ses précieux commentaires, son enthousiasme, sa grande disponibilité et, surtout, sa patience indéfectible. Un grand merci également à Hajime Nakatani et Angela Vanhaelen (mes codirecteurs de thèse) pour les discussions stimulantes et mots d'encouragements. Je remercie le département d'Histoire de l'art de l'Université de Montréal et de l'UQAM, où mon parcours a débuté, et évidemment celui de l'Université McGill, son corps professoral et administratif, en particulier Maureen Coote pour sa disponibilité, Jennifer Marleau et le personnel de la bibliothèque. Je dois également beaucoup à mes amis et collègues au Musée des beaux-arts du Canada, en particulier à David Franklin, un modèle de générosité, à Antonia, Thomas et Roman Franklin; à Karen Colby-Stothart, pour son ouverture d'esprit, Christine Lalonde, pour les nombreux cafés, Danielle Martel, pour ses révisions, Lauren Walker, pour les conversations, Lise Villeneuve, Dan Labrèche, Steven Gritt, Lucille Banville, le personnel de la bibliothèque et tous ceux qui ont si généreusement accepté de me donner un coup de main quand j'entrais dans leur bureau en disant: "est-ce que je peux te demander quelque chose?"! J'ai eu la chance de parcourir plusieurs coins de l'Italie, visiter d'incroyables collections et rencontrer des gens merveilleux. Je souhaite ici souligner l'accueil convivial que plusieurs d'entre eux m'ont réservé. À Florence, le personnel du Gabinetto Disegni et Stampe dont Marzia Faietti, Giorgio Marini, Maurizio Boni, Maurizio Bacci, Antonia Adamo, Antonella Poleggi, Elisabetta Bandinelli, Roberto Palermo et Luciano Mori. À 5 Rome: l'aide incroyable de Don Sandro Corradini, un expert des archives, Monica Spivach, Michele Di Sivo, Raffella Gili et le governatore Puccini pour m'avoir permis de visiter le splendide oratoire de S. Giovanni Decollato; Don Oscar de l’église San Girolamo della Carità et le curé de la paroisse S.Marcello al Corso pour le temps qu’ils ont consacré à répondre à mes nombreuses questions et pour avoir partagé leurs trouvailles. À Crémone, Mario Marubbi, pour son aide précieuse. Merci aussi au baron Giovanni Ricasoli-Firidolfi qui m'a si généreusement donné accès aux archives de sa famille et tout le personnel de l’Archivio di Stato di Rome et de Florence. Mes amis Giulio Zavatta et Alessandra Bigi Iotti, Maria Alessia Facchini, pour leur hospitalité. Enfin, je ne pourrai jamais assez remercier ma famille. Ma mère et mon père pour leur soutien exemplaire; ma soeur pour ses encouragements et sa force; mes nièces, Emma et Sofia pour leurs câlins et leurs rires; mes neveux Anthony et Stefano pour leur bonne humeur et leur bon coeur; à mon beau-frère Michael pour sa générosité. Enfin, à mon autre soeur, Suzanne, merci pour sa bonté et son humour. À ma famille d'adoption, Eugenia, Domenico et leurs enfants: Bianca, pour son intelligence exceptionnelle et Livia pour son espièglerie. Enfin, à mes amis de longue date, pour leur affection et les moments de plaisirs: Luisa, Anna, Joe, Mario, Julie, que je remercie spécialement pour sa ténacité et sa loyauté, Gavino, Dina et Kadia. 6 Abréviations Les ouvrages fréquemment consultés ont été abrégés comme suit: ACTES C. Monbeig Goguel, Ph. Costamagna et M. Hochmann. Francesco Salviati et la Bella Maniera : Actes des colloques de Rome et de Paris (1998), Rome, École française, 2001. CHENEY I. H. Cheney. Francesco Salviati (1510-1563). Thèse de doctorat, New York University, 1963. DBI Dizionario biografico degli italiani, 1960-2010. MORTARI L. Mortari, Francesco Salviati, Rome, 1992. ROME / PARIS C. Monbeig Goguel et al. Francesco Salviati o la Bella Maniera, Paris; Milan, 1998. Catalogue d’exposition. SCHLITT M. W. Schlitt. Francesco Salviati and the Rhetoric of Style. Thèse de doctorat, Baltimore, The Johns Hopkins University, 1991. VASARI – CHASTEL G. Vasari, Les vies des meilleurs peintres, sculpteurs et architectes, éd. commentée sous la dir. d’André Chastel, Paris, 1981-1989, 12 vol. VASARI-MILANESI G. Vasari. Le vite de' più eccellenti pittori, scultori e architetti, choisies et commentées par G. Milanesi, Florence, 1879-1906, 9 vol. WEISZ J. S. Weisz. Pittura e Misericorda : the Oratory of S. Giovanni Decollato in Rome, Thèse de doctorat, Massachusetts, Harvard University, 1982. 7 Fonds d’archives et collections consultés ASF Archivio di Stato, Firenze ASGD Archivio di San Giovanni Decollato ASMC Archivio San Marcello al Corso ASR Archivio di Stato, Roma ASV Archivio Segreto Vaticano BAV Biblioteca Apostolica Vaticana GDSU Gabinetto Disegni e Stampe degli Uffizi, Florence GM Guardaroba Medicea MdP Mediceo del Principato (ASF) 8 Liste des illustrations 1. © Francesco Salviati, David, plume et encre brune, sur pierre noire, Musée des beaux-arts du Canada, inv. 41486. 2. © Michelangelo, Nu, modèle en cire, Casa Buonarroti, Florence 3. © Comparaison des figures 1 et 2. 4. © Comparaison des figures 1 et 2 5. © Michelangelo, David, Accademia, Florence, et fig. 1. 6. © Francesco Salviati, Étude pour un jeune Saint-Jean Baptiste, pierre noire, Département des Arts graphiques, Louvre, inv.
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