Alla ricerca di Antonello del Perrino

• Autores: Pierluigi Leone de Castris
• Localización: Confronto: studi e ricerche di storia dell'arte europea, ISSN 1721-6745, Nº. 3, 2020, págs. 114-141
• Idioma: italiano
• Texto completo no disponible (Saber más ...)
• Resumen

  • But for Colantonio, lauded by Summonte in 1524 as the only local artist worthy of mention in the whole preceding century, only a few of whose works are known with certainly, Quattrocento painting in Aragonese Naples is all about works without names and names without works -names such as Jacopo Barreta, Paolo Burriello, Francesco Alopo, Aniello Abbate, Minichello Battipalla, Aniello and Francesco Busanna, Bartolomeo de Gaudio di Capua, Renzo Cannabacciolo, Marchitello Gallo, Angelo Porpora, Luca da Napoli, Nicola Zoppo, Andrea Baia, and Giovanni di Giusto. A "San Nicola di Bari" stolen in 1993 from the Church of Santa Maria di Portanova in Naples and recently recovered, dated 1471 and initialed "A. de C. p[inxit]", makes it possible now to try and identify the most significant of these 'names without works', that of Antonello da Capua, painter and embroiderer under Alfonso and Ferrante d'Aragona, documented between 1441 and 1492, and pehaps identical with the artist known under the name of Antonello da Gaeta or del Perrino, likewise active as a court painter and embroiderer for the same kings of Naples between 1441 and 1488. Moreover, comparison with the initialed painting allows the name of Antonello da Capua, or del Perrino, to be attributed with some works most of which were done with the rare technique of tempera on canvas, like the "Madonnas and Saints" in the Museo Campano in Capua, once thought to be by Colantonio or Jacomart, painted in 1449 for Gabrielle Mastrilli and the Church of Sant'Angelo in Palco a Nola, or the "Madonnas", done later, in te churches of Sant'Antonio a Maddaloni and Santa Maria del Popolo in Torcella dei Lombardi (1484).