Un "quadretto" in Galleria Borghese: la "Sepoltura di Cristo" di Giulio Romano e la genesi dell'invenzione

• Autores: Kristina Herrmann-Fiore
• Localización: Rivista d'arte: periodico internazionale di storia dell'arte medievale e moderna, ISSN 1122-0732, Nº. 2, 2012, págs. 127-172
• Idioma: italiano
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• Resumen

  • The restoration (2008) by Laura Ferretti gave back the splendor of colors in the night-scene and the brilliant quality of this little known painting. In the iconographic tradition of "Christ's entombment" after Raphael, this composition constitues an important tragic innovation (Christ seen from behind, extreme foreshortening, hanging head). This painting is connected to Vasari's text concerning two apparently lost versions of the theme by Giulio Romano: the altarpiece (S. Domenico in Mantua) and the "little one" in the collection of Tommaso da Empoli in Venice.

    The study of works by Raphael and Giulio's different drawings and paintings related with genesis of this painting led to the conclusion that the little panel of the Borghese Gallery must be the missing work of Tommaso da Empoli. This panel arrived at the Museum, as many other paintings did, from Venice in the XVII century. The first definite mention of the work in the Borghese collection is given by inventory of 1693 which referred to it as being by Raphael. For stylistic reasons the dating of the painting is proposed as that the beginnig of Giulio's Mantuan period.