Il restauro come occasione di studio. Nuova luce su due dipinti su tavola di Marco d’Oggiono della Pinacoteca di Brera
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Two panel paintings executed by Marco d’Oggiono (Milan, 1470 circa - 1524) after 1517, conserved at the Pinacoteca di brera in Milan, have been the subjects of a recent restoration (Centro Conservazione e restauro La Venaria reale). the two paintings depict St. Francis of Assisi and St. Anthony of Padua, each presenting a devotee and they were originally part of a large polyptych, consisting of ten tables, made for the Franciscan convent of Santa Maria delle Grazie in Maleo (Lodi) and therefore called Maleo Polyptych; today these works of art are two of the five still known compartments of the altarpiece. this occurrence allowed the in-depth study of the circumstances of commissioning and realization of the works and represented an opportunity for a detailed and interdisciplinary investigation: in fact, the outcome of the research between the historical-artistic field and the scientific one, with particular reference to the genealogical study and that relating to the history of costume, the direct observation of the works and the contribution of diagnostic investigations, led to hypothesize and propose a new identification of the two devotees depicted. the hypothesis is that the two female subjects identified by 20th century studies as bona bevilacqua trivulzio and Giulia trivulzio were initially Antonia Pallavicini and Lucia bevilacqua respectively; the iconographic updating is supported by non-invasive preliminary analyses, in particular the MA-XrF, that suggested the presence of ancient repainting layers that partially changed the dress of the first devotee and modified the arrangement of the hair of the second one.
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