Scipione Pulzone
![](http://upload.wikimedia.org/wikipedia/commons/thumb/0/0d/S_Pulzone_Autorretrato_b_1574.jpg/170px-S_Pulzone_Autorretrato_b_1574.jpg)
![](http://upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Cognac_16_La_Femme_en_rouge_2014.jpg/220px-Cognac_16_La_Femme_en_rouge_2014.jpg)
Scipione Pulzone (* um 1550 in Gaeta; † 1598), genannt Il Gaetano war ein italienischer Maler des Manierismus.
Leben
Als Maler war Pulzone in Rom tätig. Er wurde von Jacopino del Conte († 1598) beeinflusst. Er zeichnete sich vor allem als hervorragender Porträtmaler aus. Er malte unter anderem Porträts der Päpste von Pius V., Julius III. und Gregor XIII. Er porträtierte auch den Kardinal Medici, den Großherzog Ferdinando I. de’ Medici, Eleonora de’ Medici und Maria de’ Medici.
In der Bandinikapelle der römischen Kirche San Silvestro al Quirinale hängt sein Werk der Assunzione di Maria[1] und in der römischen Kirche Santa Maria in Vallicella das Werk Christus am Kreuz mit den Heiligen (Crocefissione).[2]
Werke (Auswahl)
- Maddalena (1574), Rom, Basilika di San Giovanni in Laterano
- Immacolata Concezione (1581), Ronciglione, Chiesa dei Cappuccini
- Assunzione di Maria (1585), Rom, San Silvestro al Quirinale
- Crocefissione (1592), Rom, Santa Maria in Vallicella
- Pietà (1591), New York, Metropolitan Museum of Art
- Ritratto del Cardinale Ricci, London, National Gallery[3]
- Sacra famiglia, Rom, Galleria Borghese
- Pio V, Rom, Galleria Colonna
- Bildnis der Bianca Cappello, Wien, Kunsthistorisches Museum
- Famiglia di Alfonso Gonzaga, Rom, Galleria Colonna
- Porträt des Jacopo Boncompagni (wieder, nach einigen Umwegen, seit 1989 in Privatbesitz), gemalt 1574[4]
Maddalena al sepolcro, 1585–1590 (Fondazione Cariplo)
Porträt von Maria de’ Medici
Beweinung Christi (1593)
Porträt von Pius V. (1572)
Literatur
- Stefano De Mieri: PULZONE, Scipione, detto Scipione da Gaeta o Gaetano. In: Raffaele Romanelli (Hrsg.): Dizionario Biografico degli Italiani (DBI). Band 85: Ponzone–Quercia. Istituto della Enciclopedia Italiana, Rom 2016.
Weblinks
- Scipione Pulzone (1548–1598) – Il pittore della „Madonna della divina providenza“. Aufsatz von Augusto Donò (PDF-Datei, italienisch; 369 kB)
- Illustration von Scipione Pulzone’s The Lamentation im Metropolitan Museum of Art
- Pulzóne, Scipione, detto il Gaetano. In: Enciclopedia on line. Istituto della Enciclopedia Italiana, Rom.
Einzelnachweise
- ↑ Michele D’Innella: Guida Rossa Roma. Touring Club Italiano, Mailand 2004, S. 345.
- ↑ Michele D’Innella: Guida Rossa Roma. Touring Club Italiano, Mailand 2004, S. 231.
- ↑ National Gallery London
- ↑ faz.net: Auktionswoche in New York, „Jetzt stehen die Alten Meister auf“.
Personendaten | |
---|---|
NAME | Pulzone, Scipione |
ALTERNATIVNAMEN | Scipione da Gaeta; Il Gaetano |
KURZBESCHREIBUNG | italienischer Maler |
GEBURTSDATUM | um 1550 |
GEBURTSORT | Gaeta |
STERBEDATUM | 1598 |
Auf dieser Seite verwendete Medien
(c) Fondazione Cariplo, CC BY-SA 3.0
Formerly the property of Caterina Marcenaro, who had the canvas relined and restored (operations performed respectively by D. Podio and A. Arrigoni in 1967 and 1968), the painting was attributed by her to Dürer. The attribution to Scipione Pulzone from Gaeta was put forward by Federico Zeri in connection with the investigations carried out in 1976, when ownership of the collection was transferred to the Cariplo. Zeri’s opinion proves particularly significant in view of the fact that the Roman art historian was one of the greatest experts on Pulzone and wrote an acute study on him in the late 1950s.
One of the leading figures in late Mannerism, Gaetano drew stylistically upon the great masters of the 16th century and his own colleagues active in Rome in the second half of the century, from Santi di Tito to the Zuccari brothers, as well as Jacopino da Conte, his master.
In particular, as Alessandro Rovetta points out, Pulzone’s model for the dramatically bowed figure seems to be the prototype of Correggio’s Mary Magdalene in the Deposition (1527, Galleria Nazionale, Parma). This was widely known through an engraving by Adrien Collaert with a caption describing the episode precisely as Mary Magdalene weeping beside the tomb on realising that it was empty and assuming that the body of Christ had been stolen.
The Cariplo canvas displays marked similarities with a version of the same subject painted by Pulzone for the Basilica of San Giovanni in Laterano, Rome. The careful and highly sophisticated depiction of the clothing with the extraordinary minute rendering of the silver brocade and gilded embroidery of plant motifs, the highlights of the hair, the descriptive detail of the jar of ointment, which seems to be a copy a fine specimen of the goldsmith’s art of the time painted from life, and the splendid landscape all make the canvas an important stage in the early work of an artist still influenced by the Florentine Mannerist focus on the elaborate rendering of every detail. For this reason, the Mary Magdalene at the Tomb should be regarded as coeval with the painting of 1574 in San Giovanni. It may even have been painted some time earlier, as the figure of the saint proves far more restrained in the work of 1574, possibly heralding the stylistic and spiritual evolution whereby Pulzone, as noted by Federico Zeri, came to adopt a very distant, austere and unadorned vocabulary fully in line with the Counter Reformation school of which he was one of the leading representatives. The Caripolo Magdalene instead displays the great virtuoso skills that the artist employed in his many portraits of the Roman nobility.
As Rovetta points out, there is another version of the Magdalene in a private collection in the Emilia region attributed to the Flemish artist Denis Calvaert. Though incorrect, this attribution is indicative of Pulzone’s links with Flemish painting, which emerges above all in the portraits and confirms his ability to draw upon different sources in an openly Mannerist spirit.Vermutliches Porträt von Maria de’ Medici (1575-1642), Ehefrau von Heinrich IV. (1553-1610)
"The identification of the sitter here as Maria de' Medici was first put forward when the painting was with Ehrich Galleries, New York, in 1920, and the identification was further confirmed by Wilhelm Suida when the painting reappeared on the market in 1944.
Maria de' Medici was born in 1573, the daughter of Grand Duke Francesco I de' Medici, and later became Queen of France when she married Henri IV in 1600. In 1594, the year in which this picture was painted, Maria would have been twenty-one years old. Most single-figure portraits of Maria post-date her wedding and show the sitter almost twenty years older, for example Frans Pourbus' portrait of 1611 in the Uffizi, Florence (K. Langedijk, The Portraits of the Medici, Florence 1981, pp. 1242-3, no. 10, reproduced fig. 86,10). A lost portrait of Maria de' Medici by Pulzone almost certainly existed, for an inventory records a red chalk drawing of her by the artist, together with drawings of Ferdinando I and Christine of Lorraine, all of which were presumably associated with portraits in the Serie Aulica (Langedijk, op. cit., p. 1245, no. 12). The view that this portrait was probably painted by Pulzone for the Serie Aulica and that it represents Maria de' Medici was supported by Prof. Federico Zeri (written communication, 21 September 1995), but the identification of the sitter as Maria de' Medici has been rejected by Dr. Karla Langedijk." [1] [2]Die Frau in Rot