De nouvelles découvertes au sujet de la Déposition de Rosso Fiorentino à Sansepolcro
This article retraces the vicissitudes surrounding Rosso Fiorentino’s Deposition for Sansepolcro, starting from the church renovation works launched in the early 1520s by the confraternity of Santa Croce, who commissioned to Raffaellino del Colle a Deposition then assigned to Rosso in 1527. Then,...
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: | This article retraces the vicissitudes surrounding Rosso Fiorentino’s Deposition for Sansepolcro, starting from the church renovation works launched in the early 1520s by the confraternity of Santa Croce, who commissioned to Raffaellino del Colle a Deposition then assigned to Rosso in 1527. Then, the paper focuses on the problematics of the location of the work of art and its setting, for which documentary research has allowed to question the information commonly held by historiography. Rosso delivered an altarpiece that exceeded the expectations of the clients, who paid him more than was originally agreed upon. On one hand the painting remained on the main altar of the church of Santa Croce, even after the Benedictines of San Lorenzo had moved in the mid-16th century, and did not undergo any further displacement during the following centuries. On the other hand, the original wooden structure was preserved until 1789 when, following the earthquake that struck the Upper Valley of the Tiber, it was replaced by the current stucco assembly made by Arcangelo Innocenzi and Giovanni Cherubini and gilded by Antonio Testerini. Furthermore, the Deposition shows a pictorial technique “in reserve” that seems to inaugurate a new phase in Rosso’s work. |
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