Les Arts libéraux du Puy-en-Velay : une œuvre de Pedro Berruguete ?
Based on connoisseurship, this study seeks to establish the identity of the mural painting of the Arts Libéraux in the Cathedral of Notre Dame de Puyen-Velay. To do this first will be taken into consideration the material history of the work since its discovery by Prosper Mérimée by reviewing the m...
Enregistré dans:
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| Format: | Article ou chapitre numérique |
| Langue: | Français |
| Publié: |
2023
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | Based on connoisseurship, this study seeks to establish the identity of the mural painting of the Arts Libéraux in the Cathedral of Notre Dame de Puyen-Velay. To do this first will be taken into consideration the material history of the work since its discovery by Prosper Mérimée by reviewing the main proposals of attribution that have been made up to the present time. Based on stylistic characteristics as well as on documentary sources, the proposition of attributing the work to the Castilian Pedro Berruguete arises as a possibility deserving serious consideration. After an examination of the materiality of the work, then an exploration of the different sources available on its sponsor, the Canon Pierre Odin, ambassador of France to the Pope Sixtus IV in the years 1470-1480, we can propose Pedro Berruguete as the artist who executed this painting in Puy. The closest similarities can be seen by comparing the work to a Virgin with Child in the Prado by the same painter. Our hypothesis is the following: after having served as portraitist for the Duke Frederico de Montefeltro in Italy, Pedro Beruguete would have returned to Spain in the mid-1480s but passed through France in order to realize the painting in Puy for the Canon Odin.
We draw multiple conclusions from this. On the one hand, we must reconsider Pedro Berruguete’s career and the corpus of his work. Certain of his paintings are still regularly attributed to Justus of Ghent for example. However the evolution of the painter’s style provides a better explanation: passing from a careful Flemish style to a series of Spanish altarpieces with notable differences, the painting in Puy can be perceived as an intermediate link between the painter’s Italo-Flemish phase and his Spanish phase. |
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