Una cronistoria rivisitata: i preziosi stucchi sacri di Giacomo Serpotta a Palermo e il ruolo della committenza laica devota tra Sei e Settecento

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Abstract

[automatically translated] The essay emphasizes that, according to the author, is a functional work discriminating Serpotta, which previously had not been analytically examined, ie the role of patronage for the development of his art. The artistic literature on the Palermo stucco master, in fact, had never deepened the relationships with the client and if this could have played a role with respect to the artist's fortune. The tight chronological survey of his works, exhibited here, by examining all the documents published so far point by point, it shows that actually were not the Church, understood as a secular institution, or religious orders, to support the artist from the beginning, but that the latter (with some exceptions, like the Carmelites in 1684) up to a certain point in his career he was rather indifferent to its new, formal and compositional. Otherwise, confraternal associations (brotherhoods, congregations and companies, the latter with its main object of the work speakers) involved him and offered him the opportunity to experience its language that progressively exploded spreading and enjoying continued success which religious, but above all religious, they fell in behind only the threshold of the '700. So the fame of Serpotta and its launch should not so much the official Catholic institutions, but to the lay devotees of confraternal associations, certainly more ready to understand and stimulate its innovative creations often seemingly at the limit of orthodoxy Counter. So the company of Our Lady of the Desert in San Mercury owes almost inexplicable hired a young Giacomo in 1678, which was soon followed by the prestigious commission of the stucco decoration of the very aristocratic company of Charity in San Bartolomeo. If until now studies have noted and reiterated that that position had the reputation of Serpotta descend quickly (also demonstrated by the model for the equestrian statue of Charles II to Messina), perhaps no one had ever thought about the reasons that could have convinced the noble confrati to instruct James and not others already known and established sculptors, which are assumed in the text. Certainly after S. Mercury and Charity, the order for the oratory of S. Cita, even by a lay association,
Original languageItalian
Title of host publicationArtificia Siciliae. Arti decorative siciliane nel collezionismo europeo
Pages197-221
Number of pages25
Publication statusPublished - 2016

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