Resumen de "Ne sono entusiasta io". Lucia Lopresti e Bartolomeo Bonascia
Among the multiple “attributions” to which the young Lucia Lopresti applied herself when writing to Roberto Longhi in 1921, a truly surprising appearance is the name of Bartolomeo Bonascia, which she connected to a Crucifixion with a Donor in the Museo di Castelvecchio, Verona, at that time ascribed to the Vivarini or to Jacopo Bellini. Only in recent years has the painting been reassigned to a follower of Piero della Francesca in Modena, precisely within the context of the outstanding Pietà by Bartolomeo Bonascia, signed and dated 1485 (Modena, Galleria Estense). Even if the painting in Verona might be better considered as by Cristoforo da Lendinara, as proposed by Carlo Volpe in 1979, Lopresti’s reading of it is particularly fitting, as well as being inspired by sincere enthusiasm for the then unknown Modenese artist. It is thus surprising that Longhi did not take his fiancée’s suggestion into account, when — first in his Piero della Francesca (1927) and later in the Officina ferrarese (1934) — he was to reassess Bonascia as one of the major proponents of Piero’s legacy in Emilia, together with Cristoforo and Lorenzo da Lendinara.
