Papers by Gennaro De Luca
Prospettiva. Rivista di storia dell'arte antica e moderna, 2017
The name of the little-known Italian poet Giorgio Maria Rapparini functions surprisingly like a h... more The name of the little-known Italian poet Giorgio Maria Rapparini functions surprisingly like a hypertext for the history of European art and culture between the late 17th and early 18th century. Born in Bologna, Rapparini spent most of his life at the Palatine court in Germany as secretary to Prince Johann Wilhelm II. Taking into account three of his literary works (the dramma per musica Il fabbro pittore, the treatise Le portrait du vrai mérite and the heroi-comic poem L’Arlichino), the article deals with the multiple connections between this figure and the contemporary art scene. Rapparini, indeed, played all the possible roles of a courtier virtuoso. He was not only an enthusiastic supporter of the agreeable and culturally rich climate in Düsseldorf and a sincere and trusted friend of artists like Rosalba Carriera and Giovanni Antonio Pellegrini, but also worked as a scenographer, illustrator and theatrical performer.
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Prospettiva. Rivista di storia dell'arte antica e moderna, 2016
Thanks to good connections with the papal court (starting with the Albani family), in 1692 two Ge... more Thanks to good connections with the papal court (starting with the Albani family), in 1692 two German monks were sent to Rome on behalf of the Bridgettine order to once again take possession of its house and church of Santa Brigida in Piazza Farnese. This was a temporary turning point in the life of the order which, according to the will of the Swedish saint, had hosted pilgrims in that very building for centuries until the Ref¬ormation. The article deals with a recently discovered manuscript composed by one of those monks, Benedict Schraivogel (1665-1713), which dates from 1697, five years after his arrival in Rome. The manuscript, formerly in Giuliano Briganti’s private library, is now in a public art history library in Siena. It is loosely inspired by Ottavio Panciroli’s guide to the city, I tesori nascosti nell’alma città di Roma (1600). The author summarises it, translates it into Latin and, as a complete amateur, also adds illustrations to the volume, providing further testimony of the great fame of Panciroli’s guide between the 17th and 18th centuries. Yet Schraivogel goes beyond this, adapting that text to his own autobiographical needs. The manuscript is in fact part of a larger project, which also included his contemporary drawings of Bridgettine buildings that are currently in the Bayerisches Hauptstaatsarchiv in Munich. In this way Schraivogel aimed to make new Roman possessions known to the German friars of his order, possibly in order to publish a guide “in aedibus S. M. Birgittae”; his work thus hands down to us a complete record of the original aspect of that heritage. Benedict Schraivogel’s manuscript is undoubtedly an outstanding document recounting the history of the Bridgettine order and the appearance of Rome in the eyes of a German monk at the end of the 17th century.
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Alessandro Angelini, Piero della Francesca, Sole 24 ore cultura, Milano 2014, 2014
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Prospettiva. Rivista di storia dell'arte antica e moderna, 2014
Pietro De Sebastiani’s definition of Giovanni Maria Morandi as a “gentil huomo famoso pittore” in... more Pietro De Sebastiani’s definition of Giovanni Maria Morandi as a “gentil huomo famoso pittore” in connection with his role as curator of the artistic collection of the Salviati family admirably sums up the dual personality of this intriguing painter who lived between the second half of the 17th century and the first two decades of the 18th. A gentleman because he had good connections with Roman high society by virtue of his chivalrous qualities, but also an accomplished professional in the academic world and in national and International artistic circles. Giovanni Maria Morandi was certainly a man of his own century, his fame not outliving the three hundred years separating his time from our own. Born and raised in grand-ducal Florence and protected by the Salviati family, he spent most of his life in Rome where he established a reputation as a portraitist for popes, cardinals and aristocrats and as a painter of refined altarpieces. In the works painted during his long career, which clearly reveal the influence of orthodox classicism, he showed remarkable skill in sympathizing with his clients’ expectations, in under standing the highest aspirations of the Roman aristocracy. Based on an analysis of both direct and indirect data relating to his later years, this article for the first time attempts to sketch a comprehensive portrait of the painter. The list of works inventoried in his workshop in view of a later sale document all the major episodes of his professional career: his early paintings for Jacopo Salviati, the great public works commissioned by popes and famous men of that time, and the works of his later years. The aim is to make an evaluation of the current state of studies on Giovanni Maria Morandi and establish a new basis for future research on this artist.
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Prospettiva. Rivista di storia dell'arte antica e moderna, 2011
The painting representing The Trinity and the Virgin appearing to Saint Philip Neri (1680) is one... more The painting representing The Trinity and the Virgin appearing to Saint Philip Neri (1680) is one of the most important works of the late baroque painter Giovanni Maria Morandi (1622-1717), born in Florence but mainly active in Rome during the second half of 17th century. Morandi enjoyed a long career during which produced a large number of paintings, many of which are unfortunately lost. During his activity he portrayed five Popes and a great number of cardinals and roman aristocrats. His gift as portraitist led him to Vienna where he worked on the Habsburg family’s commissions. Through the Chigi patronage Morandi worked for Siena too, being engaged for two altarpieces: an Annunciation (1676) for the Spedale Santa Maria della Scala and the above-mentioned Trinity and the Virgin appearing to Saint Philip Neri for Siena Cathedral. The present research adds to this last painting’s knowledge its modello, firstly mentioned in Sforza Cesarini collection, and a compositional drawing related to it. The first one is in the Fitzwilliam Museum (Cambridge), incorrectly attributed to the Morandi’s contemporary Giuseppe Passeri by museum’s catalogues. These two paintings, varied in dimensions, share same composition and same classicizing definition of figures. The sienese altarpiece also relates to a compositional drawing in the Wallraf-Richartz Museum (Cologne) representing the Apparition of the Trinity to four Saints. There are strong compositional similarities between the altarpiece and the present drawing: the pose of Christ, God and angels are partially the same. The unpublished modello of the sienese Trinity and the Virgin appearing to Saint Philip Neri is, at the present state of our knowledge, an important addition to the oeuvre of the Florentine painter Giovanni Maria Morandi who met with great success only among his contemporaries.
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Book Reviews by Gennaro De Luca
Recensione del libro "Gloriose gare. La coscienza storica delle scuole pittoriche italiane" di St... more Recensione del libro "Gloriose gare. La coscienza storica delle scuole pittoriche italiane" di Stefano Pierguidi, pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione dei libri Dizionario portatile delle arti a Roma in età moderna a cura di Giovanna Cap... more Recensione dei libri Dizionario portatile delle arti a Roma in età moderna a cura di Giovanna Capitelli, Carla Mazzarelli e Serenella Rolfi Ozvald (Campisano Editore) e Francesco Trevisani per il cardinale Ottoboni. Il sogno di san Giuseppe di Giuseppe Porzio (Arte'm), pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione della mostra “Napoli Liberty. “N’aria ‘e primmavera” alle Gallerie d’Italia di Napoli ... more Recensione della mostra “Napoli Liberty. “N’aria ‘e primmavera” alle Gallerie d’Italia di Napoli (a cura di Luisa Martorelli e Fernando Mazzocca), pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione del libro I Girolamini. Storie di artisti e committenti a Napoli nel Seicento di Gianl... more Recensione del libro I Girolamini. Storie di artisti e committenti a Napoli nel Seicento di Gianluca Forgione (Editori Paparo), pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione della mostra “Pietro Aretino e l’arte nel Rinascimento” (a cura di Anna Bisceglia, Mat... more Recensione della mostra “Pietro Aretino e l’arte nel Rinascimento” (a cura di Anna Bisceglia, Matteo Ceriana e Paolo Procaccioli, Firenze, Gallerie degli Uffizi - 2019), pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Articolo sulla mostra “Bernardo Bellotto 1740. Viaggio in Toscana" (a cura di Bożena Anna Kowalcz... more Articolo sulla mostra “Bernardo Bellotto 1740. Viaggio in Toscana" (a cura di Bożena Anna Kowalczyk, Lucca, Fondazione Ragghianti - 2019), pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione della mostra “Plasmato dal fuoco. La scultura in bronzo nella Firenze degli ultimi Med... more Recensione della mostra “Plasmato dal fuoco. La scultura in bronzo nella Firenze degli ultimi Medici” (a cura di Eike Schmidt, Sandro Bellesi e Riccardo Gennaioli, Firenze, Palazzo Pitti - 2019), pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione dei libri “Caravaggio 1951” di Patrizio Aiello e "Fortuna del Barocco in Italia. Le gr... more Recensione dei libri “Caravaggio 1951” di Patrizio Aiello e "Fortuna del Barocco in Italia. Le grandi mostre del Novecento" a cura di Michela di Macco e Giuseppe Dardanello, pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione della mostra “Marmo, bronzo e argento per Alessandro VII. Oreficeria e scultura monume... more Recensione della mostra “Marmo, bronzo e argento per Alessandro VII. Oreficeria e scultura monumentale dalla Roma di Bernini al Duomo di Siena” (a cura di Alessandro Angelini e Alessandro Bagnoli, Siena, Cripta sotto il Duomo di Siena - 2019), pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione della mostra "Il carro d'oro di Johann Paul Schor. L'effimero splendore dei carnevali ... more Recensione della mostra "Il carro d'oro di Johann Paul Schor. L'effimero splendore dei carnevali barocchi" (a cura di Alessandra Griffo e Maria Matilde Simari, Firenze, Palazzo Pitti - 2019) pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione del libro "Luigi Garzi 1638-1721. Pittore romano" a cura di Francesco Grisolia e Guend... more Recensione del libro "Luigi Garzi 1638-1721. Pittore romano" a cura di Francesco Grisolia e Guendalina Serafinelli (Officina Libraria), pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione della mostra "Rubens, Van Dyck, Ribera. La collezione di un principe" (a cura di Anton... more Recensione della mostra "Rubens, Van Dyck, Ribera. La collezione di un principe" (a cura di Antonio Ernesto Denunzio con la collaborazione di Gabriele Finaldi, Giuseppe Porzio e Renato Ruotolo, Napoli, Gallerie d'Italia - 2019) pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione del libro "Luca Giordano. La vita e le opere" di Giuseppe Scavizzi (Arte'm), pubblicat... more Recensione del libro "Luca Giordano. La vita e le opere" di Giuseppe Scavizzi (Arte'm), pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione del libro "Bernini scultore. Il difficile dialogo con la modernità" di Lucia Simonato ... more Recensione del libro "Bernini scultore. Il difficile dialogo con la modernità" di Lucia Simonato (Mondadori Electa), pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Recensione della mostra "Incontri miracolosi: Pontormo dal disegno alla pittura" (a cura di Bruce... more Recensione della mostra "Incontri miracolosi: Pontormo dal disegno alla pittura" (a cura di Bruce Edelstein, Firenze, Palazzo Pitti - 2018) pubblicata su "Alias", l'inserto domenicale de "Il manifesto".
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Papers by Gennaro De Luca
Book Reviews by Gennaro De Luca