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Ecce Homo Di Madrid Attribuito Al Caravaggio

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Ecce Homo Di Madrid Attribuito Al Caravaggio Il ‘ramo tagliato’ nella corona di spine dell’Ecce Homo di Madrid attribuito al Caravaggio Giacomo Berra La recentissima scoperta della tela con l’Ecce Homo attribuita al Cara- vaggio e rintracciata in una collezione privata a Madrid ha suscitato note- vole interesse tra gli storici dell’arte (fig. 1). Sono state varie le ipotesi che gli studiosi hanno avanzato per chiarire non solo, ovviamente, la possibile autografia caravaggesca, ma anche la committenza, la provenienza e l’a- spetto iconografico1. Vorrei però qui soffermarmi solo su un particolare di questo quadro che ha già suscitato una certa attenzione: la ‘macchia’ chiara inserita nella corona di spine posta sul capo di Cristo (figg. 2-3). Dal punto di vista iconografico questo Ecce Homo non presenta parti- colari problemi di interpretazione2. L’iconografia utilizzata dal Caravaggio 1 Sebbene buona parte della critica si sia già espressa, come prima impressione, a favore dell’ipotesi dell’autografia caravaggesca dell’Ecce Homo di Madrid, si atten- dono però ancora le indispensabili indagini diagnostiche, la necessaria pulitura e il restauro della tela per poter dare un giudizio più ponderato e confermare che si tratti realmente di un’opera del Merisi e non di un’ottima copia di un suo dipinto andato disperso (o di un originale di un altro autore). In questo mio saggio, quindi, userò il nome del Caravaggio tenendo appunto in considerazione tale problematica. Su que- sto quadro si veda il recentissimo volume di Vittorio Sgarbi, Ecce Caravaggio. Da Roberto Longhi a oggi, coordinamento della ricerca di Michele Cuppone, con anche saggi (su differenti aspetti) di Giacomo Berra, Michele Cuppone, Francesca Curti, Sara Magister, Barbara Savina et al., Milano, 2021. Per le varie successive notizie sulla tela madrilena rimando a Michele Cuppone, L’Ecce Homo attribuito a Caravaggio: le notizie in tempo reale, in https://caravaggionews.com, 9 aprile 2021 (ma con continui aggiornamenti della rassegna stampa). In questo mio contributo tutti i collegamen- ti web sono attivi e rimandano alla pagina specifica, anche se è segnalata solo la homepage. Per contattarmi si può consultare il sito www.giacomoberra.it. 2 Cfr. Sara Magister, Sull’iconografia dell’Ecce Homo di Madrid, in Sgarbi, © 2021 Giacomo Berra, in www.aboutartonline.com, 11 luglio 2021, pp. 1-38 1 GIACOMO BERRA Fig. 1. Caravaggio (attribuito), Ecce Homo, Madrid, collezione privata 2 © 2021 Giacomo Berra, in www.aboutartonline.com, 11 luglio 2021, pp. 1-38 IL ‘RAMO TAGLIATO’ NELLA CORONA DI SPINE DELL’ECCE HOMO DI MADRID Fig. 2. Caravaggio (attribuito), Ecce Homo, particolare, Madrid, collezione privata © 2021 Giacomo Berra, in www.aboutartonline.com, 11 luglio 2021, pp. 1-38 3 GIACOMO BERRA Fig. 3. Caravaggio (attribuito), Ecce Homo, particolare, Madrid, collezione privata si colloca perfettamente in linea con una variegata tradizione pittorica che illustra, con il caratteristico repertorio di figure, un noto episodio della vita di Gesù di cui parlano i Vangeli, in particolare il testo di Giovanni (19, 1-5). Nel dipinto di Madrid, Cristo è raffigurato a mezzo busto. Davanti a lui è posto un Pilato barbuto, che sembra parlare con le mani, mentre alle spalle di Gesù compare un giovane aguzzino nell’atto di porre sulle sue spalle (o di togliergli?) il purpureo manto regale. Nell’ambito di questa iconografia del tutto tradizionale è però apparso subito del tutto ‘insolita’ la piccola e luminosa forma ovaleggiante terminante a punta posta sopra la parte destra della corona di spine che cerchia il capo di Cristo (fig. 3). È stato Alessandro Zuccari a soffermarsi su questo “dettaglio”, che nes- suno aveva ancora notato. Lo studioso ha proposto di considerare tale for- ma proprio come una “piccola fiamma di luce” che sembra “distaccata dalle spine”. Una fiamma che “apre a varie sottolineature” in quanto per la prima volta compare “in una iconografia dell’Ecce Homo come simbolo di luce divina”. Si tratta dunque – ha sottolineato lo studioso – di una simbologia presente in un quadro “del tutto partecipe al clima religioso del tempo”3. Questa ipotesi è stata subito ripresa e sostenuta da Massimo Pulini, il quale ha evidenziato che l’osservazione dello Zuccari è assai pertinente in quanto “si tratta ef- fettivamente di una lingua di fuoco” che avrebbe potuto essere scambiata per una “ridipintura o qualcosa del genere”, ma che invece raffigura proprio “una Ecce Caravaggio, cit., 2021, pp. 69-80 (con altre indicazioni bibliografiche). 3 Alessandro Zuccari, La genialità dell’invenzione fa ritenere l’Ecce Homo au- tografo; e poi c’è un dettaglio…, in www.aboutartonline.com, 10 aprile 2021. 4 © 2021 Giacomo Berra, in www.aboutartonline.com, 11 luglio 2021, pp. 1-38 IL ‘RAMO TAGLIATO’ NELLA CORONA DI SPINE DELL’ECCE HOMO DI MADRID fiammella di luce di straordina- ria importanza”. Lo studioso ne ha precisato gli aspetti simbolici sostenendo che “si tratta, a veder bene, quasi di un elemento penteco- stale: una fiammella che richiama il momento in cui si rovescia la con- danna biblica di Babele: l’antidoto alla Babele delle lingue è appunto la fiammella pentecostale che viene concessa agli apostoli i quali, attra- Fig. 4. Albrecht Dürer, Cristo deriso, verso la discesa dello Spirito Santo, particolare, in Die Große Passion, frontespizio, sottoforma di fiammella, giungono Chicago, The National Gallery of Art alla conoscenza di tutte le lingue”4. Questa interpretazione sim- bolica e spirituale della forma luminosa è stata però messa in discussione da Kristina Herrmann Fiore la quale ha invece così precisato: “A mio avvi- so, tuttavia, non si tratta di una fiammella, bensì del punto in cui un ramo era stato reciso per realizzare la corona di spine. Sull’area del taglio, si proiettano sfumature di rosso e tracce di color resina con possibile evocazione del sangue di Cristo e della porpora reale.”. A sostegno di questa ipotesi la studiosa ha giu- stamente ricordato che “Simili tagli del ramo nel fitto intreccio della corona di spine si trovano nella tradizione dei pittori nordici, ad esempio nel frontispizio della famosa xilografia della Grande Passione di Dürer del 1511, o nel quadro di Dirk van Baburen del Museo del Catharijneconvent di Utrecht, databile al 1621.”5. Va tuttavia sottolineato che questi due esempi proposti dalla Herrmann Fiore mostrano un ramo tranciato, il quale però è collocato − e lo si vede bene nell’incisione di Albrecht Dürer databile 1511 circa e se- gnalata appunto dalla studiosa (fig. 4) − in un punto più laterale rispetto alla testa di Cristo, cioè in una posizione tale da non determinare alcun 4 Massimo Pulini, A colloquio sull’“Ecce Homo”. Massimo Pulini ricostruisce la vicenda e conferma: “Ecco perché è il quadro della gara Massimi”. A Colloquio con Massimo Pulini, in www.aboutartonline.com, 18 aprile 2021. 5 Kristina Herrmann Fiore, Osservazioni tematiche sull’Ecce Homo di Ma- drid: “problematica” l’attribuzione a Caravaggio, in www.aboutartonline.com, 2 maggio 2021. © 2021 Giacomo Berra, in www.aboutartonline.com, 11 luglio 2021, pp. 1-38 5 GIACOMO BERRA Fig. 5. Anonimo, Ecce Homo Fig. 6. Anonimo, Ecce Homo (copia da Caravaggio), ubicazione ignota (copia da Caravaggio), collezione privata (già Sicilia, collezione privata) (già Milano, Il Ponte) equivoco di interpretazione, come invece avviene nell’Ecce Homo di Madrid. Inoltre, va evidenziato, come si vedrà meglio tra poco, che questo particola- re era assai presente anche nella tradizione pittorica italiana. Una sintesi di questa discussione sulla ‘presunta’ fiammella è stata pro- posta da Michele Cuppone e da Sara Magister. Il Cuppone, in particolare, ha precisato che “A ogni modo, tale presenza non sarebbe casuale o “fortuita” visto che appare anche nella copia dispersa, pubblicata nel 1954 da Longhi.” (fig. 5)6. Lo studioso ha inoltre sottolineato che tale “elemento sulla corona di spine” è invece del tutto “assente” in una diversa copia del dipinto madrileno apparsa nel 2013 presso la casa d’aste milanese Il Ponte (fig. 6)7. Forse per- 6 Michele Cuppone, Offerte critiche nella rassegna stampa, in Sgarbi, Ecce Cara- vaggio, cit., 2021, pp. 83-115, pp. 111-113, p. 112 (citazione). La foto è stata pubbli- cata per la prima volta da Roberto Longhi, L’‘Ecce Homo’ del Caravaggio a Genova, in “Paragone”, V, 51, 1954, pp. 3-14, p. 9 e ill. 13b. 7 Michele Cuppone, Una ‘nuova’ copia dell’Ecce Homo di Madrid, venduta in asta nel 2013 a Milano, in https://caravaggionews.com, 12 maggio 2021; e anche Cuppone, 6 © 2021 Giacomo Berra, in www.aboutartonline.com, 11 luglio 2021, pp. 1-38 IL ‘RAMO TAGLIATO’ NELLA CORONA DI SPINE DELL’ECCE HOMO DI MADRID ché, si potrebbe aggiungere, questo copista meno dotato non aveva capito bene la funzione di tale ‘macchia’ chiara, o forse perché ha voluto semplifi- care il serto di spine per poter ‘aggiungere’ anche un’aureola luminosa fatta di raggi in modo che tutto risultasse più didascalico. La Magister, nel ri- prendere le osservazioni del Cuppone sulle due copie del quadro madrileno (quelle, ovviamente, sino ad ora conosciute perché, molto probabilmente, altre potrebbero emergere in futuro), si è dimostrata molto scettica sull’i- potesi che il Caravaggio abbia utilizzato un simbolo sacro. Ha ammesso che “quella macchia luminosa al centro del capo di Cristo” non sia semplice da “decifrare, in assenza di una pulitura e di una visione dal vivo”, tuttavia ha concluso che essa “difficilmente può essere la piccola fiamma di luce ipotizzata da Alessandro Zuccari con il sostegno di Massimo Pulini”. Per spiegare questa sua posizione la Magister ha avanzato un’argomentazione basata su ciò che sappiamo della cultura artistica del Merisi: “sarebbe un elemento troppo astratto, per un artista restio persino a mettere le aureole sulle teste dei suoi santi, e di contro capace di esprimere una potente spiritualità con i soli mezzi della realtà concreta”.
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