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Ascanio Condivi (1525-1574) Discepolo E Biografo Di Michelangelo Buonarroti

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Ascanio Condivi (1525-1574) Discepolo E Biografo Di Michelangelo Buonarroti DIPARTIMENTO DI STORIA DELL’ARTE E SPETTACOLO DOTTORATO DI RICERCA IN Strumenti e Metodi per la Storia dell’Arte Coordinatore: Chiar.ma Prof.ssa Silvia DANESI SQUARZINA Ascanio Condivi (1525-1574) discepolo e biografo di Michelangelo Buonarroti Tomo I TUTOR: DOTTORANDA: Chiar.ma Prof.ssa Dott.ssa Beniamina MAZZUCA Silvia DANESI SQUARZINA XXIV Ciclo (aa.aa. 2008-2011) A mio padre Un ringraziamento sentito rivolgo alla prof.ssa Silvia Danesi Squarzina, insostituibile guida nel lavoro di questi anni, segnati dai suoi preziosi insegnamenti. Un vivo grazie anche alla prof.ssa Costanza Barbieri per il sostegno, la disponibilità e la grande cortesia riservatemi. Con affetto e simpatia ringrazio Luca Calenne e Tiziana Checchi, che mi hanno aiutata nella trascrizione dei documenti, e tutti gli amici e colleghi, in particolare Laura, Francesca e Carlo. Alla mia famiglia, a Valentino e ai miei amici di sempre: grazie di tutto. Indice TOMO I Introduzione VIII 1. Ascanio Condivi (1525-1574) 1.1. Lo stato degli studi 1 1.2. Origini della famiglia Condivi 8 1.3. Nascita e formazione 9 1.4. Primo viaggio a Roma 10 1.5. Un caso di omonimia 12 1.6. Il soggiorno romano 14 1.7. Ritorno a Ripatransone: le nozze e il turbolento rapporto con Annibal Caro 17 1.8. L’elezione tra i membri dell’Accademia Fiorentina 22 1.9. Gli ultimi anni a Ripatransone e la morte 24 1.10. Le opere di Ascanio Condivi nei documenti dell’archivio storico di Ripatransone 27 1.11. La discendenza 31 1.12. I ritratti di Ascanio Condivi e dei suoi discendenti 33 2. Michelangelo e Ascanio Condivi. Collezione “all’antica” per Niccolò Ridolfi 2.1. Michelangelo, Ascanio Condivi e la corte del Cardinale Ridolfi 47 2.2. Il busto di Bruto di Michelangelo Buonarroti 59 2.3. La testa bronzea di Lucio Cornelio Silla di Ascanio Condivi 64 2.4. Iconografia di Lucio Cornelio Silla 70 2.5. La dispersione della collezione Ridolfi. Tracce d’indagine 74 3. Michelangelo e Ascanio Condivi. I progetti artistico letterari 3.1. I progetti di Michelangelo notomista 85 3.2. Ascanio Condivi e la numerazione sui disegni di Michelangelo 96 3.3. Trattati cinquecenteschi di anatomia 3.3.1. Il Trattato Delle Perfette Proporzioni di Vicenzo Danti 117 3.3.2. Il De Re Anatomica di Realdo Colombo 123 3.3.3. L’Historia de la composición del cuerpo humano di Juan Valverde 126 3.4. Ascanio Condivi, anonimo copista delle Rime di Michelangelo contenute nel Codice Vat. Lat. 3211 129 4. Michelangelo e Ascanio Condivi. La tavola dell’Epifania di Firenze e il cartone preparatorio di Londra 4.1. La tavola dell’Epifania di Ascanio Condivi 181 4.2. Il cartone dell’Epifania di Michelangelo 185 4.3. La tavola di Ascanio Condivi ed il cartone di Michelangelo a confronto 191 4.4. Datazione ed ipotesi di committenza 194 4.5. Iconografia 198 4.6. L’Epifania e i disegni di Michelangelo. Confronti 203 4.7. La tavoletta del Ritorno dalla Fuga in Egitto di Oxford, Ashmolean Museum 206 4.8. La tavoletta del Cristo e la Donna di Samaria di Liverpool, Walcher Art Gallery 212 Appendice documentaria 229 TOMO II 1. La redazione della Vita di Michelagnolo di Ascanio Condivi e la sua revisione 263 2. Un rapporto inedito tra Ascanio Condivi e Giorgio Vasari 287 3. La Vita di Michelagnolo di Ascanio Condivi e di Giorgio Vasari a confronto 293 4. Postille manoscritte alla Vita di Michelagnolo di Ascanio Condivi 318 4.1. Postille di Angelo Rocca (1545-1620) in un esemplare della Vita di Michelagnolo custodito presso la Biblioteca Angelica 321 5. La Vita di Michelangelo nelle redazioni di Ascanio Condivi (1553) e di Giorgio Vasari (1550, 1568) 5.1. Criteri di edizione 335 5.2. Trascrizione delle biografie michelangiolesche 337 5.3. Note alla Vita condiviana del 1553 487 5.4. Differenze tra le parti in comune della Vita michelangiolesca del Vasari del 1550 e del 1568 540 5.5. Censimento della Vita condiviana del 1553 541 Apparati Bibliografia Monografie, saggi,articoli di periodici 545 Cataloghi di mostre, atti di convegni 571 Ascanio Condivi (1525-1574) discepolo e biografo di Michelangelo Buonarroti TOMO I Introduzione Nel Rinascimento coloro i quali aspiravano ad intraprendere il “mestiere dell’artista” poteva introdursi come apprendisti in una bottega, luogo di formazione artistica e artigiana. In tutte le città esistevano botteghe di diverse tipologie, da quelle piccolissime, alle imprese familiari, a quelle nate dall’associazione di più maestri. All’interno di esse gli allievi seguivano un iter formativo ben preciso. Partivano dall’esecuzione d’incarichi di poca importanza per arrivare ad ottenere sempre maggiori responsabilità. Il tirocinio si svolgeva sotto la guida di un maestro, il quale, di norma, era responsabile anche dell’educazione e della condotta del giovane. Tra le officine più celebri del tempo ricordiamo quelle fiorentine del Verrocchio e del Ghirlandaio. Rispetto a tale prassi si distingue l’operato di Michelangelo Buonarroti, il quale rifiutò fin dalla giovinezza il tradizionale apprendistato artistico e non ebbe né volle avere una scuola. Difatti, la fama del Buonarroti è legata non solo alle sue opere, incluse fra i capolavori dell'arte occidentale, ma anche al multiforme carattere e ai contraddittori rapporti personali che hanno caratterizzato la sua vicenda. Tra questi degno di nota è il legame intrattenuto con i giovani artisti a lui vicini, la cui dinamica non è inscrivibile nella “normale” vicenda della relazione tra discepoli e maestro. Egli fu sempre restio a creare intorno a sé una rete di professionisti del mestiere e cercò per quanto possibile di operare sempre in piena autonomia, soprattutto per quel che concerne i lavori di ambito scultoreo. La valenza spirituale che Michelangelo attribuiva alle creazioni di opere marmoree era tale da spingerlo a ricorrere all’aiuto di collaboratori per lo più in ragione di pressioni ricevute da committenti determinati a ottenere tempestivamente la realizzazione di quanto richiesto. Le maestranze coinvolte intervenivano perciò solo a livello operativo, come per i lavori nella Sacrestia Nuova di San Lorenzo o per la Tomba di Giulio II, e non erano permesse loro le licenze consentite nelle altre officine del tempo. Per quel che concerne l’ambito pittorico e del disegno, l’atteggiamento di Michelangelo era diverso. Da una parte ritroviamo l’immagine del genio che lavora in maniera solitaria, come per la decorazione della Volta Sistina, i cui restauri, effettuati tra il 1980 e il 1994, VIII hanno dimostrato che il ricorso a collaboratori era stato minimo e limitato ad elementi secondari; dall’altra parte vediamo affiorare delle propensioni maggiormente didattiche. Egli si circondò, in diversi momenti della vita, di giovani desiderosi di apprendere i suoi precetti artistici, ma sostanzialmente incapaci di una propria autonomia, come Antonio Mini o Pietro Urbano, e allo stesso tempo rimase sempre più incline a condividere le proprie invenzioni con figure dotate di una propria maturità artistica, come Sebastiano del Piombo, Pontormo o Daniele da Volterra. Il carattere meno esclusivo che egli riservava alle opere pittoriche ha consentito che giungessero fino a noi numerosi disegni autografi del Buonarroti, trasferiti in pittura sia da personaggi di secondo piano, dipendenti dal suo magistero, sia da pittori più noti. Tale sostegno non fu perciò sempre della stessa natura: in alcuni casi era prevista l’elaborazione di veri e propri cartoni preparatori, in altri si trattava per lo più di piccoli schizzi, tracciati come spunti per una scultura o pittura. In questo contesto un rapporto di singolare vicinanza e condivisione lo ebbe con il giovane marchigiano Ascanio Condivi, nato a Ripatransone nel 1525 e lì morto nel 1574. La notorietà del Condivi è legata sin qui principalmente, se non unicamente, all’importante incarico, affidatogli dall’artista stesso, di redigere la sua biografia autorizzata, edita a Roma nel 1553. Ed è proprio sulla figura del discepolo che si è incentrata l’indagine svolta nei tre anni di dottorato, inserendosi così nel complesso capitolo di studi sulla vita del Buonarroti. La ricerca ha messo in luce sempre più la diffusa consapevolezza della peculiarità delle dinamiche di rapporti tra Michelangelo e i suoi allievi; la figura del Condivi si è infatti delineata come quella di un uomo eclettico, cui non pare attribuibile la definizione di discepolo, nel senso più tradizionale del termine, dal momento che l’apprendistato svolto presso il maestro non ha portato alla realizzazione di opere di rilievo. La sua importanza è tuttavia riconducibile al fatto che egli fu strettamente a contatto con il Buonarroti per quasi un decennio, dal 1545 al 1554, e fu considerato meritevole di occuparsi non solo della redazione della Vita, ma anche di molteplici progetti di diversa natura, ai quali il maestro attendeva da tempo. L’attività di Ascanio Condivi è così vista secondo la sua duplice conformazione: il marchigiano svolgeva il ruolo di biografo del Buonarroti e nello stesso tempo spendeva energie nell’apprendistato in qualità di suo discepolo. IX I risultati raggiunti nel corso dello studio possono perciò essere rappresentati secondo percorsi analitici e lineari, che hanno suggerito la stesura finale della tesi in due volumi, nei quali vengono approfonditi gli aspetti peculiari dei due profili d’indagine. Il primo tomo è stato diviso in cinque capitoli, a loro volta frazionati in paragrafi e sottoparagrafi, all’inizio dei quali è stata inserita una breve introduzione, volta a spiegare l’argomento affrontato. Tale organizzazione del lavoro si è resa necessaria, poiché ogni capitolo affronta un particolare aspetto del rapporto tra il Buonarroti e il Condivi. A questo proposito si deve tener presente che la ricerca è stata motivata non solo dalla volontà di far luce sulla figura del biografo, ma anche dalla ragionevole probabilità di rinvenire spunti di interesse in ordine a quella del Buonarroti.
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