Original und Replik - zum Werk von Tino di Camaino in Neapel, als auch Giotto dort 1328-1333 tätig war

• Autores: Gert Kreytenberg
• Localización: Commentari d'arte: rivista di critica e storia dell'arte, Vol. 19, Nº. 54-55, 2013, págs. 39-44
• Idioma: alemán
• Texto completo no disponible (Saber más ...)
• Resumen

  • Robert of Anjou brought Tino di Camaino from Florence to Naples in 1323-1324 because he was the pre-eminent Italian sculptor. Giotto, the supreme Italian painter, arrived in Naples from Florence on 1 December 1328, and stayed for five years. We know that both artists were on familiar terms in Florence, but it is only now that Tino's subtle competition with Giotto has been brought into focus. It was manifest, first and foremost, in the even higher quality of his sculpted works and figures, which were so finely modelled that they appeared to be executed not in marble but ivory, as evinced by the sculptures in the Abbey of Cava die Tirreni in particular. Next, it was seen in Tino's new conception of the relief as a replacement for the painted image. Seidel has described this solution as the "sculpted image", a means of expression that was clearly more prestigious than painted panels in aristocratic Neapolitan society, since the material and workmanship were more expensive. Two reliefs, both depicting a halflength Madonna and Child, belong to the "sculpted image" genre of Tino and his workshop. One of them is in the Victoria and Albert Musem, London, and the other in the Hyde Collection in Glen Falls (NY). This essay presents two privately owned works that are similar to these reliefs in type and quality. The works replicated by the master and his workshop are known as multiples.