La statua di ‘San Giovanni Nepomuceno’ a Passo San Giovanni (con note sulla famiglia Barcelli e Teodoro Benedetti) “La Giurisdizione di Pénede”, XXIII , 45 (2015), pp. 62-74
Research on a statue depicting saint John of Nepomuk in Nago and on its patrons, the brothers Fra... more Research on a statue depicting saint John of Nepomuk in Nago and on its patrons, the brothers Francesco and Giuseppe Barcelli.
RIHA Journal-Special Issue, "Collecting Italian Art North of the Alps", Dec 23, 2014
Research on the European success of Venetian art during the 18th century has above all examined t... more Research on the European success of Venetian art during the 18th century has above all examined the activity of the painters. This paper analyzes the works of Venetian sculptors through some important case studies. Attention is given to several commissions of sculpture from Russia (among them works ordered by Peter the Great from 1719 to 1723), German states (Prussia, Saxony and Bavaria), Sweden and England. The analysis also concerns Venetian intellectuals who played the roles of mediators, such as Anton Maria Zanetti and Francesco Algarotti. The comparative study of these commissions allows us to formulate hypotheses about who were the most praised sculptors and whether there was a taste for specific artistic tendencies. It seems, for example, that British clients mainly appreciated classical sculptors like Antonio Gai and Giovanni Marchiori, in contrast to other countries, where also baroque artists were valued. The article also notes the case of Antonio Corradini, who operated for several years abroad, in Vienna and Dresden. There is finally also the attempt to outline some ideas and starting points for further research on this topic; among them an enquiry about taste for Venetian baroque sculptures in the 19th and 20th centuries.
The paper examines an unknown altarpiece depicting The death of Saint Martin, which was kept in t... more The paper examines an unknown altarpiece depicting The death of Saint Martin, which was kept in the depot of the Alte Pinakothek (Old Gallery) in Munich, and a copy of the lost painting that Giambettino Cignaroli executed for the Saint Martin’s church in Trento. This work is attributed to the artist’s brother, Giandomenico Cignaroli, who was active in the family workshop and often copied Giambettino’s paintings. The focus will also be on other worksthat have been attributed to Giandomenico both in Trentino and Alto Adige.
New archival discoveries have shed a new light on the mysterious Giovanni Gai (1713-1774), son of... more New archival discoveries have shed a new light on the mysterious Giovanni Gai (1713-1774), son of the Venetian Sculptor Antonio; the documents found permit some clarifications both on his biography and his career. Regarding the artistic path, I suggest he has only been in his life a bronzist and wood carver, and that he never sculpted stone. For this reason, I remove from his catalogue all the stone sculptures who have been attributed to him until today, like the bust of Teofilo Folengo, in the church of Campese.
The article is about four Evangelists sculptures decorating the facade of San Lorenzo’s church in... more The article is about four Evangelists sculptures decorating the facade of San Lorenzo’s church in Mestre (Venice); works of the sculptor Agostino Rubini (1558/59-before 1592), they were offered by a benefactor at the beginning of 19th Century and their provenance is unknown. The attribution to this artist was made possible only in recent times, thanks to a restoration of the building
which revealed the artist’s signature on Saint Mark and Saint John. The purpose of this paper is to analyze and to date these sculptures, comparing them with the works of Alessandro Vittoria, who was Rubini’s uncle and master
Il contributo prende in considerazione un ciclo di Evangelisti dello scultore vicentino Agostino Rubini decorante la facciata della chiesa di San Lorenzo a Mestre, sul quale non si è sinora soffermata la critica. Tramite appositi confronti si è cercato di evidenziare i chiari debiti stilistici nei confronti di Alessandro Vittoria oltre a proporre di datare le sculture agli ultimi anni della breve carriera dell’artista.
Guercino. Capolavori da Cento a Bolzano, catalogo della mostra di Bolzano, a cura di Gino Bombonato e Stefania Lorandi, Bolzano/Bozen 2012, pp. 28-41
Ricostruzione delle vicende dell'altare dei Magistrato Mercantile nella chiesa dei Domenicani a B... more Ricostruzione delle vicende dell'altare dei Magistrato Mercantile nella chiesa dei Domenicani a Bolzano, commissionato verso la metà del Seicento. Si propone di individuare due diverse fasi nella costruzione del manufatto, la prima da attribuirsi all'architetto Matteo Pezzi e la seconda a Giovanni Battista Bianchi, con interventi sull'antependio.
Il reperimento a Venezia dell’atto di battesimo di un figlio del pittore trentino Antonio Gresta ... more Il reperimento a Venezia dell’atto di battesimo di un figlio del pittore trentino Antonio Gresta (1671-1727) costituisce l’unica testimonianza documentaria del soggiorno in laguna dell’artista, sinora attestato solo dai suoi biografi. La data 1708 consente altresì di posticipare il suo ritorno in Trentino, fissato tradizionalmente al 1705.
La statua di ‘San Giovanni Nepomuceno’ a Passo San Giovanni (con note sulla famiglia Barcelli e Teodoro Benedetti) “La Giurisdizione di Pénede”, XXIII , 45 (2015), pp. 62-74
Research on a statue depicting saint John of Nepomuk in Nago and on its patrons, the brothers Fra... more Research on a statue depicting saint John of Nepomuk in Nago and on its patrons, the brothers Francesco and Giuseppe Barcelli.
RIHA Journal-Special Issue, "Collecting Italian Art North of the Alps", Dec 23, 2014
Research on the European success of Venetian art during the 18th century has above all examined t... more Research on the European success of Venetian art during the 18th century has above all examined the activity of the painters. This paper analyzes the works of Venetian sculptors through some important case studies. Attention is given to several commissions of sculpture from Russia (among them works ordered by Peter the Great from 1719 to 1723), German states (Prussia, Saxony and Bavaria), Sweden and England. The analysis also concerns Venetian intellectuals who played the roles of mediators, such as Anton Maria Zanetti and Francesco Algarotti. The comparative study of these commissions allows us to formulate hypotheses about who were the most praised sculptors and whether there was a taste for specific artistic tendencies. It seems, for example, that British clients mainly appreciated classical sculptors like Antonio Gai and Giovanni Marchiori, in contrast to other countries, where also baroque artists were valued. The article also notes the case of Antonio Corradini, who operated for several years abroad, in Vienna and Dresden. There is finally also the attempt to outline some ideas and starting points for further research on this topic; among them an enquiry about taste for Venetian baroque sculptures in the 19th and 20th centuries.
The paper examines an unknown altarpiece depicting The death of Saint Martin, which was kept in t... more The paper examines an unknown altarpiece depicting The death of Saint Martin, which was kept in the depot of the Alte Pinakothek (Old Gallery) in Munich, and a copy of the lost painting that Giambettino Cignaroli executed for the Saint Martin’s church in Trento. This work is attributed to the artist’s brother, Giandomenico Cignaroli, who was active in the family workshop and often copied Giambettino’s paintings. The focus will also be on other worksthat have been attributed to Giandomenico both in Trentino and Alto Adige.
New archival discoveries have shed a new light on the mysterious Giovanni Gai (1713-1774), son of... more New archival discoveries have shed a new light on the mysterious Giovanni Gai (1713-1774), son of the Venetian Sculptor Antonio; the documents found permit some clarifications both on his biography and his career. Regarding the artistic path, I suggest he has only been in his life a bronzist and wood carver, and that he never sculpted stone. For this reason, I remove from his catalogue all the stone sculptures who have been attributed to him until today, like the bust of Teofilo Folengo, in the church of Campese.
The article is about four Evangelists sculptures decorating the facade of San Lorenzo’s church in... more The article is about four Evangelists sculptures decorating the facade of San Lorenzo’s church in Mestre (Venice); works of the sculptor Agostino Rubini (1558/59-before 1592), they were offered by a benefactor at the beginning of 19th Century and their provenance is unknown. The attribution to this artist was made possible only in recent times, thanks to a restoration of the building
which revealed the artist’s signature on Saint Mark and Saint John. The purpose of this paper is to analyze and to date these sculptures, comparing them with the works of Alessandro Vittoria, who was Rubini’s uncle and master
Il contributo prende in considerazione un ciclo di Evangelisti dello scultore vicentino Agostino Rubini decorante la facciata della chiesa di San Lorenzo a Mestre, sul quale non si è sinora soffermata la critica. Tramite appositi confronti si è cercato di evidenziare i chiari debiti stilistici nei confronti di Alessandro Vittoria oltre a proporre di datare le sculture agli ultimi anni della breve carriera dell’artista.
Guercino. Capolavori da Cento a Bolzano, catalogo della mostra di Bolzano, a cura di Gino Bombonato e Stefania Lorandi, Bolzano/Bozen 2012, pp. 28-41
Ricostruzione delle vicende dell'altare dei Magistrato Mercantile nella chiesa dei Domenicani a B... more Ricostruzione delle vicende dell'altare dei Magistrato Mercantile nella chiesa dei Domenicani a Bolzano, commissionato verso la metà del Seicento. Si propone di individuare due diverse fasi nella costruzione del manufatto, la prima da attribuirsi all'architetto Matteo Pezzi e la seconda a Giovanni Battista Bianchi, con interventi sull'antependio.
Il reperimento a Venezia dell’atto di battesimo di un figlio del pittore trentino Antonio Gresta ... more Il reperimento a Venezia dell’atto di battesimo di un figlio del pittore trentino Antonio Gresta (1671-1727) costituisce l’unica testimonianza documentaria del soggiorno in laguna dell’artista, sinora attestato solo dai suoi biografi. La data 1708 consente altresì di posticipare il suo ritorno in Trentino, fissato tradizionalmente al 1705.
Uploads
Papers by Fabien Benuzzi
which revealed the artist’s signature on Saint Mark and Saint John. The purpose of this paper is to analyze and to date these sculptures, comparing them with the works of Alessandro Vittoria, who was Rubini’s uncle and master
Il contributo prende in considerazione un ciclo di Evangelisti dello scultore vicentino Agostino Rubini decorante la facciata della chiesa di San Lorenzo a Mestre, sul quale non si è sinora soffermata la critica. Tramite appositi confronti si è cercato di evidenziare i chiari debiti stilistici nei confronti di Alessandro Vittoria oltre a proporre di datare le sculture agli ultimi anni della breve carriera dell’artista.
which revealed the artist’s signature on Saint Mark and Saint John. The purpose of this paper is to analyze and to date these sculptures, comparing them with the works of Alessandro Vittoria, who was Rubini’s uncle and master
Il contributo prende in considerazione un ciclo di Evangelisti dello scultore vicentino Agostino Rubini decorante la facciata della chiesa di San Lorenzo a Mestre, sul quale non si è sinora soffermata la critica. Tramite appositi confronti si è cercato di evidenziare i chiari debiti stilistici nei confronti di Alessandro Vittoria oltre a proporre di datare le sculture agli ultimi anni della breve carriera dell’artista.