On the early maturity of Allegretto Nuzi and some additions to his catalogue

Emanuele Zappasodi
In recent years, Allegretto Nuzi has been the subject of several articles resulting in some important and unexpected clarifications. Nevertheless, retracing the artist's career with precision continues to be an arduous task. His early maturity, during the 1350s, is particularly obscure. The present article focuses on that elusive decade, which is re-examined in the light of the attribution to the painter of a 'Saint Agnes' and a 'Martyr saint', presented here for the first time and identified as the side panels of a polyptych whose original central panel was the 'Crucifixion' conserved in the Ursuline church of Fribourg (Switzerland). The study of these paintings is part of a broader re-examination of Allegretto's artistic production, which, following his return from Tuscany – where his presence is documented in 1346 – shows traces of the influence of various artists active on the Florentine scene during those years.


Emanuele Zappasodi On the early maturity of Allegretto Nuzi and some additions to his catalogue
read abstract » pp. 3-23
Raffaele Marrone Vecchietta, Francesco di Giorgio, Benvenuto di Giovanni and the altarpiece of the 'upper' oratory of the confraternity of Santa Maria degli Angeli e San Francesco in Siena
read abstract » pp. 24-53
Victor M. Schmidt A small panel by Bartolo di Fredi in the Galleria Nazionale dell'Umbria
read abstract » pp. 54-63
Alessandro Brogi From Correggio to Caravaggio: the astonishing artistic development of Bartolomeo Schedoni seen through two emblematic paintings
read abstract » pp. 64-74
Andrea Daninos Five sculptors for one portrait. An article for Costantino de' Servi
read abstract » pp. 75-84
Jacopo Stoppa On the function of Guercino's 'Mary Magdalene' in the church of the Convertite in Rome
read abstract » pp. 85-94