It has surely been missing a general and organic study so far that the phenomenon of circulation in the Mediterranean would emerge in all its complexity, since De Dominici already attests that many sculptors traveled to Spain between the seventeenth and eighteenth centuries. This study on the circulation of baroque sculpture in Naples between Naples and Spain aims to highlight the intense exchange of works of art in the western Mediterranean through the ports of Naples, Puglia, Genoa, Cagliari emdella Spain . From the comparative survey of written and iconographic sources, the spanish commission, from the vicereal, the noble and the ecclesiastical, to the Confraternities has emerged, with their constant demand for art at the Neapolitan workshops. More and more the importance of the Neapolitan works from the Neapolitan works to the development of the sixteenth-century wood statuary in Spain has become apparent, although it was not only an import but profitable and reciprocal exchange, as evidenced by Neapolitan and Spanish documents published, but so far neglected for their contents related to the life of the workshops. From this comparative study (accompanied by fine photographs), the figure of Nicola Salzillo and his actual presence at the Aniello Perrone workshop in Naples from 1687 to 1697 emerged sharply with the other pupils Pietro eaetano Patalano. The news of his departure in 1699 for Murcia and his school, famous for his firstborn son Francisco Salzillo, is clear. For hundreds of volumes (1687-1697) consulted at the Archives of the Banco di Napoli, forty transcribed documents relate to wood sculptors (some really precious as the Madonna del Csarro by Gaetano Patalano in Lecce); it was possible to create a catalog of the works of Nicola Salzillo between Santa Maria Caapua Vetere and Spain and some "corpus" of works by artists. Among these are various Puglia sculptors (Filippo Altieri of Altamura-Ruvo) and various Neapolitans operating in Puglia. The two sculptures in the diocesan museum of Bisceglie, well illustrated in the book, and many other works scattered throughout Apulia, are important for the technique of the dummies.
E' sicuramente mancato finora uno studio generale ed organico che facesse emergere il fenomeno della circolazione nel Mediterraneo in tutta la sua complessità, dal momento che già De Dominici attesta che numerosi scultori si recavano in Spagna tra il XVII e XVIII secolo. Il presente studio sulla circolazione della scultura in legno in età barocca tra Napoli e la Spagna mira a mettere in luce l'intenso scambio di opere d'arte nel Mediterraneo occidentale attraverso i Porti di Napoli, della Puglia, di Genova, di Cagliari emdella Spagna. Dall'indagine comparata delle fonti scritte e iconografiche è emerso il ruolo determinante della committenza spagnola: da quella vicereale, nobile ed ecclesiastica, alle Confraternite con la loro continua richiesta di opre d'arte presso le botteghe napoletane. E' apparsa sempre più l'importanza dell'apportop dato dalle botteghe napoletane allo sviluppo della statuaria lignea del Sei-Settecento in Spagna, sebbene non fu solo un fenomeno di importazione ma di proficuo e reciproco scambio, come dimostrano i documenti sia napoletani che spagnoli pubblicati, ma finora trascurati per il loro contenuti relativo alla vita delle botteghe. Da questo studio comparato(corredato da pregevoli fotografie)è emersa nitida la figura di Nicola Salzillo e la sua effettiva presenza presso la bottega a Napoli di Aniello Perrone dal 1687 al 1697, con gli altri allievi Pietro eaetano Patalano. Appaiono chiare le notizie della sua partenza nel 1699 per Murcia e della sua scuola, famosa per il primogenito Francisco Salzillo. Da centinaia di volumi (1687-1697) consultati presso l'Archivio storico del Banco di Napoli ben quaranta documenti trascritti sono relativi a scultori del legno (taluni veramente preziosi come la Madonna del Csarro di Gaetano Patalano a Lecce); è stato possibile quindi realizzare il catalogo delle opere di Nicola Salzillo tra Santa Maria Caapua Vetere e la Spagna e alcuni "corpus" di opere di artisti. Tra questi ricordiamo vari scultori pugliesi (Filippo Altieri di Altamura-Ruvo)e vari napoletani operosi in Puglia. In merito alla tecnica dei manichini vestiti importanti sono le due sculture presenti al Museo diocesano di Bisceglie, ben illustrati nel libro, e tante altre opere sparse per tutta la Puglia.
La circolazione della scultura lignea barocca nel mediterraneo: Napoli, la Puglia e la Spagna. Una indagine comparata sul ruolo delle botteghe: Nicola Salzillo
DI LIDDO, ISABELLA
2008-01-01
Abstract
It has surely been missing a general and organic study so far that the phenomenon of circulation in the Mediterranean would emerge in all its complexity, since De Dominici already attests that many sculptors traveled to Spain between the seventeenth and eighteenth centuries. This study on the circulation of baroque sculpture in Naples between Naples and Spain aims to highlight the intense exchange of works of art in the western Mediterranean through the ports of Naples, Puglia, Genoa, Cagliari emdella Spain . From the comparative survey of written and iconographic sources, the spanish commission, from the vicereal, the noble and the ecclesiastical, to the Confraternities has emerged, with their constant demand for art at the Neapolitan workshops. More and more the importance of the Neapolitan works from the Neapolitan works to the development of the sixteenth-century wood statuary in Spain has become apparent, although it was not only an import but profitable and reciprocal exchange, as evidenced by Neapolitan and Spanish documents published, but so far neglected for their contents related to the life of the workshops. From this comparative study (accompanied by fine photographs), the figure of Nicola Salzillo and his actual presence at the Aniello Perrone workshop in Naples from 1687 to 1697 emerged sharply with the other pupils Pietro eaetano Patalano. The news of his departure in 1699 for Murcia and his school, famous for his firstborn son Francisco Salzillo, is clear. For hundreds of volumes (1687-1697) consulted at the Archives of the Banco di Napoli, forty transcribed documents relate to wood sculptors (some really precious as the Madonna del Csarro by Gaetano Patalano in Lecce); it was possible to create a catalog of the works of Nicola Salzillo between Santa Maria Caapua Vetere and Spain and some "corpus" of works by artists. Among these are various Puglia sculptors (Filippo Altieri of Altamura-Ruvo) and various Neapolitans operating in Puglia. The two sculptures in the diocesan museum of Bisceglie, well illustrated in the book, and many other works scattered throughout Apulia, are important for the technique of the dummies.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
