Papers by Antonio Mazzotta
The extraordinary Christ in Limbo, a canvas now part of the collections of the Alte Pinakothek in... more The extraordinary Christ in Limbo, a canvas now part of the collections of the Alte Pinakothek in Munich, was owned in the mid- 19th century by the Terni family from Crema. The changes of ownership between the 19th and 20th century are reconstructed here through the sources describing the work
"Le occasioni del giovane Tiziano, tra Venezia, Ferrara e Padova", in 'Tiziano 1508. Agli esordi di una luminosa carriera', exh. cat. (Venice, Gallerie dell'Accademia, 9 September-3 December 2023), ed. by R. Battaglia, S. Ferrari and A. Mazzotta, Florence (Mandragora) 2023, pp. 53-63 Visite guidate e laboratori didattici Aster Tiziano 1508 Agli esordi di una luminosa carriera Gal... more Visite guidate e laboratori didattici Aster Tiziano 1508 Agli esordi di una luminosa carriera Gallerie dell'Accademia, Venezia 9 settembre-3 dicembre 2023 restauri Indagini diagnostiche Tiziano, Arcangelo Raffaele e Tobia, Venezia, Gallerie dell'Accademia Diagnostica per l'arte Fabbri di Davide Bussolari con la collaborazione di Maddalena Re e Chiara Zironi (indagine radiografica) Silvia Salvini con Serena Bidorini (indagine riflettografica) Stefano Volpin con Lucia Giorgi (indagini stratigrafiche e microscopia digitale) Tiziano, Angelo con tamburello, Roma, Galleria Doria Pamphilj Marco Cardinali di Emmebi diagnostica artistica (indagine riflettografica) Restauri Francesco Vecellio, Madonna con il Bambino in trono con due angeli musicanti, Sedico (BL),
Visite guidate e laboratori didattici Aster Tiziano 1508 Agli esordi di una luminosa carriera Gal... more Visite guidate e laboratori didattici Aster Tiziano 1508 Agli esordi di una luminosa carriera Gallerie dell'Accademia, Venezia 9 settembre-3 dicembre 2023 restauri Indagini diagnostiche Tiziano, Arcangelo Raffaele e Tobia, Venezia, Gallerie dell'Accademia Diagnostica per l'arte Fabbri di Davide Bussolari con la collaborazione di Maddalena Re e Chiara Zironi (indagine radiografica) Silvia Salvini con Serena Bidorini (indagine riflettografica) Stefano Volpin con Lucia Giorgi (indagini stratigrafiche e microscopia digitale) Tiziano, Angelo con tamburello, Roma, Galleria Doria Pamphilj Marco Cardinali di Emmebi diagnostica artistica (indagine riflettografica) Restauri Francesco Vecellio, Madonna con il Bambino in trono con due angeli musicanti, Sedico (BL),
![Research paper thumbnail of "Tiziano e Ferrara: una pala giovanile ricostruita", in 'Prospettiva', 186, 2022 [2023], pp. 56-71](https://attachments.academia-assets.com/104068390/thumbnails/1.jpg)
The ‘Angel with tambourine’ (Galleria Doria
Pamphilj, Rome), until now scarcely considered
in the... more The ‘Angel with tambourine’ (Galleria Doria
Pamphilj, Rome), until now scarcely considered
in the literature on Titian, is quite clearly
an early painting by the artist close to the
‘Tobias and the Archangel Raphael’ (Gallerie
dell’Accademia, Venice), which, according to
Vasari, was painted in 1508. The ‘Angel’ is a
fragment of a larger composition, an altarpiece
that was recently traced back to the Ferrara
context, and in particular to a Trotti altar in the
church of Santa Maria dei Servi (demolished
in 1633), from which the ‘Angel’ was removed
in 1613. A badly damaged ‘Madonna and
Child Enthroned’, which was in the Hermitage
until 1924 and is now in the Pushkin Museum,
Moscow, appears to be the most likely upper
fragment of the altarpiece. Simulating a reconstruction
by placing one work on top of the
other results in a very convincing image, confirmed
by infrared examination of the ‘Angel’
which reveals the folds of a cloak that seem to
match perfectly those of the ‘Madonna’. An
early altarpiece by Titian in Ferrara induces
a reconsideration of his association with the
city and the Este court, which is documented
only from 1516 onwards. The work seems to
have had a certain influence on the Ferrara art
scene of the early 16th century, echoes of it being
identifiable in some altarpieces by Nicolò
Pisano and in the early work of Dosso Dossi.
Studies for a portrait of a woman, by Giovanni Antonio Boltraffio. c.1500-02. Coloured chalk and ... more Studies for a portrait of a woman, by Giovanni Antonio Boltraffio. c.1500-02. Coloured chalk and pastel on prepared paper, 57.3 by 40.7 cm. (Biblioteca Ambrosiana, Milan; Bridgeman Images).
The ‘Master of the Sforza Altarpiece’ is one of the unresolved mysteries of Milan at the time of ... more The ‘Master of the Sforza Altarpiece’ is one of the unresolved mysteries of Milan at the time of the Sforza family and, more generally, of the history of art. Recently, however, it has been proposed that the artist might be identified as Giovanni Angelo Mirofoli from Seregno. This paper presents a series of elements that makes this identification plausible. An ‘Annunciation’, hidden in a small town in France, is here attributed to the ‘Master’ due to its similarities with a drawing by him in the Musée du Louvre and with his frescoes in the church of San Giorgio in Annone Brianza. It is argued that this ‘Annunciation’, made up of two wings, might have been part of the lost organ shutters that Mirofoli painted in 1491 for the Duomo of Milan.
The Gattamelata altar once stood in the chapel that is now dedicated to the Holy Sacrament. Today... more The Gattamelata altar once stood in the chapel that is now dedicated to the Holy Sacrament. Today it no longer exists. It is possible, however, to reconstruct its historic and artistic context thanks to documents and early sources stating that it was dedicated to Saints Francis and Bernardino, and that the altarpiece had been painted in 1460 by the three Venetian artists: Jacopo Bellini and his two sons, Gentile and Giovanni. Painstaking reexamination of these documents allows us to ascertain, furthermore, that by the mid Seventeenth Century the altarpiece had become irreparably ruined and had thus been removed, quite plausibly even destroyed. The various attempts at identifying surviving fragments of this altarpiece have been, however, somewhat overly assertive inasmuch as direct connections between such candidates and the Basilica of Saint Anthony have not been established and the historical and stylistic evidence have not been sufficiently taken into account. One attribution does, however, meet these criteria - a rather ruined panel with Saint Bernardino in the Antonian Museum. A discussion thus ensues as to whether it might not actually be a reflection of one of the fragments from the lost altarpiece.
This article is the ideal sequel to a previous
one (‘Ritratti’ veneziani per Jacometto, Marco
Bas... more This article is the ideal sequel to a previous
one (‘Ritratti’ veneziani per Jacometto, Marco
Basaiti e Andrea Previtali, in ‘Prospettiva’,
147-148, 2012 [2014], pp. 150-158), and here
too the aim is to discuss and reattribute a series
of portraits produced in Venice between
the late 15th and early 16th century. The artists
involved in the discussion include Antonello
da Messina, Jacometto Veneziano and Andrea
Previtali. A small section of the essay is devoted
to works that show the possible activity
of Jacometto Veneziano as an illuminator.
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Papers by Antonio Mazzotta
Pamphilj, Rome), until now scarcely considered
in the literature on Titian, is quite clearly
an early painting by the artist close to the
‘Tobias and the Archangel Raphael’ (Gallerie
dell’Accademia, Venice), which, according to
Vasari, was painted in 1508. The ‘Angel’ is a
fragment of a larger composition, an altarpiece
that was recently traced back to the Ferrara
context, and in particular to a Trotti altar in the
church of Santa Maria dei Servi (demolished
in 1633), from which the ‘Angel’ was removed
in 1613. A badly damaged ‘Madonna and
Child Enthroned’, which was in the Hermitage
until 1924 and is now in the Pushkin Museum,
Moscow, appears to be the most likely upper
fragment of the altarpiece. Simulating a reconstruction
by placing one work on top of the
other results in a very convincing image, confirmed
by infrared examination of the ‘Angel’
which reveals the folds of a cloak that seem to
match perfectly those of the ‘Madonna’. An
early altarpiece by Titian in Ferrara induces
a reconsideration of his association with the
city and the Este court, which is documented
only from 1516 onwards. The work seems to
have had a certain influence on the Ferrara art
scene of the early 16th century, echoes of it being
identifiable in some altarpieces by Nicolò
Pisano and in the early work of Dosso Dossi.
one (‘Ritratti’ veneziani per Jacometto, Marco
Basaiti e Andrea Previtali, in ‘Prospettiva’,
147-148, 2012 [2014], pp. 150-158), and here
too the aim is to discuss and reattribute a series
of portraits produced in Venice between
the late 15th and early 16th century. The artists
involved in the discussion include Antonello
da Messina, Jacometto Veneziano and Andrea
Previtali. A small section of the essay is devoted
to works that show the possible activity
of Jacometto Veneziano as an illuminator.