Qualche spunto e un’ipotesi per Fede Galizia

digital

Articolo

rivista	ARTE LOMBARDA
fascicolo	ARTE LOMBARDA - 2019 - 2-3
titolo	Qualche spunto e un’ipotesi per Fede Galizia Some ideas and a hypothesis for Fede Galizia
Autore	Mauro Pavesi
Editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	07-2020
doi	10.26350/666112_000047
issn	0004-3443 (stampa) \| 2785-1117 (digitale)

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Descrizione
A revision of Fede Galizia’s portraiture activity may reconsider the comparison between the image of the Milanese memorialist Paolo Morigia (Pinacoteca Ambrosiana, Milan; signed and dated 1598) and a misterious Falconer kept in the Koelliker Collection (inv. LK00062). the two paintings share the same combination of miniaturistic passages and brutal, realistic representation of male uglyness. the way the tissues, eye wrinkles, complexions and structures of the skull and nose are painted is, on the other hand, very similar. Unfortunately, the identity of the Falconer is unknown; even the presence of a Savoy coat of arms (visible on the rattle hanging on the falcon’s paw) does not help us in identification. the reconsideration of this painting also leads to the evaluation of the hypothesis, destined for now to remain so, of trying to attribute tentatively to “Madonna Fede” also the portrait of an anonymous Lady at the Hermitage Museum (inv. ГЭ-36), formerly assigned to another female artist of the late reinassance, Sofonisba Anguissola. keywords Fede Galizia, Arcimboldo, Paolo Morigia, portrait, falconer. Biografia dell'autore Università Cattolica del Sacro Cuore; mauro.pavesi@unicatt.it

Descrizione

A revision of Fede Galizia’s portraiture activity may reconsider the comparison between the image of the Milanese memorialist Paolo Morigia (Pinacoteca Ambrosiana, Milan; signed and dated 1598) and a misterious Falconer kept in the Koelliker Collection (inv. LK00062). the two paintings share the same combination of miniaturistic passages and brutal, realistic representation of male uglyness. the way the tissues, eye wrinkles, complexions and structures of the skull and nose are painted is, on the other hand, very similar. Unfortunately, the identity of the Falconer is unknown; even the presence of a Savoy coat of arms (visible on the rattle hanging on the falcon’s paw) does not help us in identification. the reconsideration of this painting also leads to the evaluation of the hypothesis, destined for now to remain so, of trying to attribute tentatively to “Madonna Fede” also the portrait of an anonymous Lady at the Hermitage Museum (inv. ГЭ-36), formerly assigned to another female artist of the late reinassance, Sofonisba Anguissola.