Sulla camera di Alessandro e Rossane alla Farnesina e sui soggiorni romani del Sodoma: (con una nota su Girolamo Genga a Roma e le sue relazioni con i Chigi)

• Autores: Roberto Bartalini
• Localización: Prospettiva: rivista di storia dell'arte antica e moderna, ISSN 0394-0802, Nº. 153-154, 2014, págs. 39-73
• Idioma: italiano
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• Resumen

  • On the Room of Alexander and Roxanne at the Farnesina and on the activity of Sodoma in Rome (with reference to Girolamo Genga and his relations with Chigi family).

    This paper casts new light on the work of Sodoma between the second and third decade of the 1500s, at the time of the latter's repeated visits to Rome. At this time Raphael, who for Sodoma was a constant source of inspiration, was fundamental for the painter both on the biographical level (at least of the "committenza"), and as regards his figurative style. It is an historiographical conundrum that still needs to be clarified completely, starting with Raphael's role in the planning of the decoration of Agostino Chigi's bridal chamber at the Farnesina (the so-called Room of Alexander and Roxanne). In the first part of the sutdy attention is focused on this cycle of frescoes: its iconographic programme is examined, the cultural milieu from which it emerged is outlined and its possible creator is identified, while thanks to new graphic material the hypothesis of Raphael's planning in the initial phases of the commission is confirmed, that is, before it was passed on to Sodoma. The latter's time in Rome, which new reflections pinpoint to the years 1516-17, shows the significant part played by Raphael in the development of Sodoma's painting; an influence that became clear and was further enriched in the course of a subsequent move to Rome by Sodoma at the beginning of the 1520s and revealed by unpublished documents presented here. The autor is thus able to redefine what has hitherto been one of the most obscure periods in the career of the painter from Vercelli: a time that was in fact decisive since it was animated by experiences that heralded his most celebrated works already from the 16th century, those produced in Siena from 1524-25.

    The part relating to Rome in the early 1520s ends -continuing the analysis of the Chigi family's entourage- with an attempted revisión of the details and nature of the sojourn in Rome of Girolamo Genga who, like Sodoma, entertained certain, although previously unstudied, relations with Sigismondo Chigi.