The recent passage at a Sotheby's New York sale of a rare example of the portraiture of Antonio d'Enrico, known as Tanzio da Varallo, allows for a re-examination of the painter's early phase in the first decade of the Seicento in Rome and Naples. Documentary findings made known in the 2014 exhibition Tanzio da Varallo incontra Caravaggio. Pittura a Napoli nel primo Seicento are useful to this end. In fact the 'Portrait of a Gentleman' well illustrates Tanzio's Neapolitan period − on which Giovanni Previtali was the first to shed light − by a clear connection to Caravaggio in the 'Madonna of the Rosary', currently in Vienna. Further attention to Tanzio at Naples prompts new analysis of the chronology of several other paintings recently added to the corpus of Tanzio's work.
The restoration of a long-forgotten altarpiece in the collegiata of San Gaudenzio at Varallo, depicting 'Saint Nicholas, Saint Gregory, and Saint Pantaleone,' suggests, in the wake of key observations by Gianni Romano, a reassessment of the moment preceding Tanzio's departure for Rome in the jubilee year of 1600, for which no works are known. In fact, the restoration allows one to imagine possibilities for the artistic debut of the grand painter in patria, when he was still in part marked by Gaudenzio, and for the reciprocal contact between the painter and his yet misunderstood brother Melchiorre D'Enrico.
The restoration of a long-forgotten altarpiece in the collegiata of San Gaudenzio at Varallo, depicting 'Saint Nicholas, Saint Gregory, and Saint Pantaleone,' suggests, in the wake of key observations by Gianni Romano, a reassessment of the moment preceding Tanzio's departure for Rome in the jubilee year of 1600, for which no works are known. In fact, the restoration allows one to imagine possibilities for the artistic debut of the grand painter in patria, when he was still in part marked by Gaudenzio, and for the reciprocal contact between the painter and his yet misunderstood brother Melchiorre D'Enrico.
Index
Roberto Bartalini
Ambrogio Lorenzetti a Montesiepi. Sulla committenza e la cronologia degli affreschi della cappella di San Galgano
read abstract » pag. 2-18
read abstract » pag. 2-18
Rosanna De Gennaro, Paolo Giannattasio
Messina in the travel diary and drawings of Willem Schellinks
read abstract » pag. 19-49
read abstract » pag. 19-49
Gail A. Solberg
Taddeo di Bartolo e Rinaldo Brancaccio a Roma: Santa Maria in Trastevere e Santa Maria Maggiore
read abstract » pag. 50-73
read abstract » pag. 50-73
Alessandro Angelini
Una 'Sant'Agnese di Montepulciano' di Domenico Beccafumi. Per una revisione dell'attività giovanile del pittore
read abstract » pag. 74-93
read abstract » pag. 74-93
Andrea Giorgi
"Domenicho dipentore sta in chasa di Lorenso Bechafumi". Di alcuni documenti poliziani intorno al culto di Agnese Segni e ai suoi riflessi in ambito artistico (1506-1507)
read abstract » pag. 94-103
read abstract » pag. 94-103
Claudio Gulli
Girolamo del Pacchia's cataletto for the Confraternity of San Bernardino in Siena
read abstract » pag. 104-121
read abstract » pag. 104-121
Patrizia Tosini
Boncompagni and Guastavillani patronage in the Capuchin church at Frascati: an addition for Niccolò Trometta and a hypothesis about the 'Painter of Filippo Guastavillani'
read abstract » pag. 132-141
read abstract » pag. 132-141
Fausto Nicolai
Cesare Nebbia and the decoration of the Florenzi chapel in San Silvestro al Quirinale. The contract of 1579 and Nebbiaʼs working relationship with Girolamo Muziano
read abstract » pag. 142-151
read abstract » pag. 142-151
A Neapolitan altarpiece by Alessandro Casolani: "Sant'Alfonso quando riceve l'habito sacerdotale dalla Madonna"
read abstract » pag. 152-161
read abstract » pag. 152-161
Tomaso Montanari
“Chi perde vince” ("He who loses wins"): a 'Salvatore' by Gian Lorenzo and Pietro Bernini (circa 1617-19)
read abstract » pag. 176-191
read abstract » pag. 176-191
Jacopo Stoppa
Ferdinando Porta's curriculum in Marcello Oretti's papers
read abstract » pag. 192-204
read abstract » pag. 192-204