Autore
De Marchi, Andrea G.

Titolo
Tracce Corsini per Barocci, Cigoli o Bernini
Periodico
Ricerche di storia dell'arte
Anno: 2025 - Volume: 148 - Fascicolo: 3 - Pagina iniziale: 77 - Pagina finale: 80

Two ignored portraits from Galleria Nazionale di Arte Antica in palazzo Corsini (Rome) are here reconnected to great artists. Despite affordable signs converging on these attributions, they remain open problems. The first case is characterized by quality judgment, an expertise progressively lost from art historians. The Barocci’s name about a Portrait of a Knight of Malta is suggested from many clues: general pattern style, inventories’ mentions, analogies with another canvas (on loan to Lyon, Musée des Beaux Art) and a drawing (Firenze, Uffizi, Gabinetto dei Disegni e delle Stampe). Despite this abundance of tracks, the quality level doesn’t reach that of Barocci, maybe because of bad conservation or an execution largely by the workshop. The second case regards a sketch-portrait, here connected with Corsini inventories’ entry as Cigoli. The comparison with a marble permits to identify the sitter with Antonio Coppola. His portrait tumb (1612) in St. Giovanni dei Fiorentini was committed to Bernini, more probably Pietro. The cadaveric physiognomy of the sculpted face has been logically connected with a lost death mask. Our canvas shows a more vital face, represented in the form of a preparatory sketch. Those characteristics suggested considering it as a possible ‘private’ painting by a young Gian Lorenzo Bernini, made as first modello for the largely father’s sculpture.



SICI: 0392-7202(2025)148:3<77:TCPBCO>2.0.ZU;2-E
Testo completo: https://www.rivisteweb.it/download/article/10.7374/119395
Testo completo alternativo: https://www.rivisteweb.it/doi/10.7374/119395

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