There are still many questions concerning Perino del Vaga’s career in the early 1530s, especially in regard of his crucial decision to leave Genoa for a new destination. Before going back to Rome and becoming the Farnese court's main painter (1537-1538), Perino evaluated the opportunity to live in Tuscany, where he also bought a house (1534). The aim of this article is to rebuild the activity of the artist in Pisa that apparently has been more intense than previously thought by studies. Perino stayed in the city at least in three different occasions, between 1531 and 1537, to participate at the new decoration of the Cathedral, that unfortunately was left incomplete and almost nothing remained nowadays. In addition to this, Vasari wrote a contradictory description of it in the Lives (1568). The article will focus on Perino’s graphic production during that period that might suggest how he was preparing his projects for the Cathedral.

“Sarebbe riuscita insieme un’opera molto onorata’’. Per Perino del Vaga a Pisa

Antonio Geremicca
2017-01-01

Abstract

There are still many questions concerning Perino del Vaga’s career in the early 1530s, especially in regard of his crucial decision to leave Genoa for a new destination. Before going back to Rome and becoming the Farnese court's main painter (1537-1538), Perino evaluated the opportunity to live in Tuscany, where he also bought a house (1534). The aim of this article is to rebuild the activity of the artist in Pisa that apparently has been more intense than previously thought by studies. Perino stayed in the city at least in three different occasions, between 1531 and 1537, to participate at the new decoration of the Cathedral, that unfortunately was left incomplete and almost nothing remained nowadays. In addition to this, Vasari wrote a contradictory description of it in the Lives (1568). The article will focus on Perino’s graphic production during that period that might suggest how he was preparing his projects for the Cathedral.
Collaborateur de Raphaël à partir de la réalisation des fresques des Loges du Palais du Vatican (1513-1516), Perino del Vaga fut, avec Giulio Romano, l’un des principaux diffuseurs, en Italie, du style du maître. Si les grands chantiers de la Villa del Principe à Fassolo pour l’amiral Andrea Doria (1527-1537) sont très célèbres, de même que l’implication du peintre à la cour romaine des Farnèse (1537-1547), la critique a accordé moins d’attention à son activité pisane. Entre 1530 à 1537, cependant, alors qu’il était Gênes, Perino se rendit à plusieurs occasions à Pise, où il acheta une maison avec son épouse (1534) et exerça un rôle de premier plan dans la nouvelle décoration de la cathédrale Santa Maria Assunta, dont il ne reste, malheureusement, que des fragments. Cette contribution formule, à partir de sources textuelles et documentaires, une hypothèse de reconstruction de ce passage complexe de la carrière du peintre, en mettant l’accent sur les dessins préparatoires élaborés pour l’exécution du chantier pisan. En particulier, elle démarre avec l’analyse de deux dessins méconnus de Perino conservés au musée de l’Albertina de Vienne – jusque-là attribués à tort au peintre Bernardino Poccetti – que j’ai proposé de lier à ce chantier et à partir desquels il a été possible de reconstituer un corpus de dessins assez cohérent. L’article est enfin l’occasion d’analyser la production graphique de Perino à son arrivée à Rome, spécialement les dessins pour la Chapelle Massimo.
Drawings, Perino del Vaga, stays in Pise, Duomo
Disegni, Perino del Vaga, soggiorni pisani, Duomo
Dessins, Perino del Vaga, séjours à Pise, Duomo
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/20.500.11770/341649
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