Per Francesco Curradi: un inedito 'Battesimo di Cristo' e la commissione della 'Visione del Beato Filippo Benizi' per la chiesadei Servi di Siena

• Autores: Salvatore Enrico Anselmi
• Localización: Prospettiva: rivista di storia dell'arte antica e moderna, ISSN 0394-0802, Nº. 138, 2010, págs. 49-57
• Idioma: italiano
• Texto completo no disponible (Saber más ...)
• Resumen

  • The article examines the activities of the Florentine artist Francesco Currandi (Florence, 1570-1661), starting from the rediscovery of an original painting that is kept in a private collection in Siena and depicts the ‘Baptism of Christ’.

    The correspondences with the ‘Adoration of the shepherds’ signed and dated “F.o CURRADI P.F. 1619”, preserved in the deposits of the Pinacoteca Nazionale of Siena and proceeding from the College of Ptolemies attached to the church of St. Augustine and with the ‘Artemisia’, which came before 1881 in the Florence galleries and now in the Medici villa La Petraia, but originally adorning the Audience Hall of the Villa of the Poggio Imperiale (decorated between 1623 and 1625), allow us to place the ‘Baptism of Christ’ within the period of time ranging from 1619 to 1625, and also through comparison with the ‘Last Judgement’ of the convent of the Servants of Mary at Montesenario in aglia (Florence), it will be possible to further narrow this time spam. Despite the pose of Christ is consistent with a conventional solution, Curradi does not seem to have failed to study its development, taking a model from the truth. This is proved by a sheet kept at the Gabinetto dei Disegni e delle Stampe of the Uffizi, where the youthful figure seems to be the preparatory study for the baptized Christ, considering the overall appearance and specially the pose of the arms.

    Outlined in black chalk with light shading, in a typical way of Curradi’s graphics, this design allows to assign to the Florentine painter, an unprecedented graphic evidence of a private collection depicting a “Woman with amphora”, also executed in black chalk, but with increases in white chalk on prepared paper.

    The article goes on analyzing the most important work left to Siena from Curradi, that is the ‘Vision of St. Filippo Benizi’ of the church of Santa Maria dei Servi; for a long time it was thought that it could have been painted by Raffaello Vanni, as in book of resolutions of the convent of the Servi of Siena can be read at November 3, 1631, the memory of the Committee Sienese artist.

    This is repeated in the memories of the convent collected and written in 1632 by Fra Filippo Montebuoni Buondelmonti and later in the biographies of Ettore Romagnoli. Until now no one had realized that continuing to read the aforementioned book of resolutions of the convent of the Servi, it is easily evident that at the date of October 16, 1638, given the failure of the Sienese painter, is once again entrust the same blade to “Cav. Corradi fiorentino”, who had to paint it no later than 1639.