We only saw the exhibition a few days ago, and it closes this Sunday. We had heard great things about it, which is why we didn’t want to miss it, and the advice we received was excellent, as the exhibition was also served by a very good museography (ill. 1 and 2). Unfortunately, we were unable to publish an article more quickly. It is thus unlikely, unless they are in Naples this weekend, that our readers will be able to make it. Nevertheless, we are publishing this article, firstly because the catalogue is obviously still available, and secondly because this is a subject that has been little covered, and there are many new discoveries to be made - at least for those of us who are unfamiliar with Neapolitan art of the first third of the sixteenth century.
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- 1. View of the "Gli spagnoli a Napoli. Il Rinascimento meridionale" exhibition
Photo: Didier Rykner - See the image in its page
The period in question is that of the beginning of Spanish rule over the Parthenopean city. Although the kings of Naples were of Spanish origin, they nevertheless maintained their independence from that country. With Ferdinand the Catholic, everything changed: the Kingdom of Naples was now governed by a viceroy. From the early 16th to the early 18th century, the Kingdom of Naples was subservient to the Habsburg Empire. Many artists came from Spain, others from northern Italy, and all of them left their mark on local art, in which a number of leading figures nevertheless emerged. The exhibition tells the story of this complex history, showing a large number of masterpieces by painters and sculptors who are often little-known.
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- 2. View of the "Gli spagnoli a Napoli. Il Rinascimento meridionale" exhibition
Photo: Didier Rykner - See the image in its page
The catalogue, which we didn’t have time to read in its entirety but which we were still able to consult extensively, is a work as we like them, erudite and comprehensive enough to set out clearly the artistic situation in Naples at the time, with introductory essays and notes for each work on display. A visit to the exhibition could be complemented by a one to the churches, although several of them remained sadly closed, at least when we wanted to see them. However, San Giovanni a Carbonara is worth mentioning, a building that was completely restored a few years ago - a rare occurrence in Naples, alas - and opened - perhaps an even rarer occurrence - preserving a large number of remarkable sculptures, particularly from the 16th century. We’ll be dedicating a short video documentary to it at a later date. For now, we’ll just take a look at the exhibition, which runs chronologically until the return of the Spanish artists to their homeland.
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- 3. Attributed to Marco Cardisco (documented from 1520 to 1542)
Adoration of the Magi, c. 1519
Oil on panel - 254 x 268 cm
Naples, Museo Civico di Castel Nuovo
Photo: Archivio dell’Arte - See the image in its page
In the first room, a painting (ill. 3) is very interesting, if not of remarkable quality. It is attributed to Marco Cardisco, but what we see of this artist in the rest of the exhibition is much better, which suggests that this "attributed to" is fragile. The important thing is that it shows three royal portraits of the Magi. Although their identification may have been debated, it seems certain that they represent the continuity and therefore the legitimacy of successive Neapolitan sovereigns, belonging to the three Aragonese, Spanish and Habsburg dynasties. The kneeling king is Ferdinand I, or Ferdinand of Aragon, who was King of Naples from 1423 to 1494. Next to him is Ferdinand the Catholic, "Catholic King of Spain", an honorary title bestowed on him in 1496 by the Pope, who in 1503, after a French interlude, became King of Naples, placing a viceroy at the head of the kingdom. Finally, on the right is the third Magus, none other than Charles V.This work is therefore more important historically than purely artistically. However, many of the paintings that follow are of a very high quality.
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- 4. Jean Bourdichon (c. 1457-1521)
Triptych of the Virgin and Child, 1501-1504
Tempera on panel - 114 x 74 cm (central panel), 114 x 34 (side panels)
Naples, Certosa and Museo di San Martino
Photo: Didier Rykner - See the image in its page
The first real section - the catalogue follows exactly the same order - is entitled "Naples Becomes Spanish". Here we see a very famous painting from Capodimonte (long-term loaned to the Certosa di San Martino) that seems a little on the fringe of the exhibition since it is neither by a Spanish artist, nor an Italian painter who came to work in the city, and even less by a native Neapolitan. We are referring to Jean Bourdichon’s triptych (ill. 4), an absolute masterpiece and a rare surviving example of his work outside the realm of illumination. Its very early presence in Naples (it must have been there since around 1504) undoubtedly exerted an influence locally, even if this is hardly apparent in the works that follow.
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- 5. Attributed to Bernardino di Betto, called Pinturicchio (1454-1513)
The Assumption of the Virgin, c. 1508-1510
Oil on panel - 278 x 173 cm
Naples, Museo e Royal Bosco di Capodimonte
Photo: Didier Rykner - See the image in its page
In contrast, Pinturicchio’s very large Assumption of the Virgin (ill. 5), commissioned for a Neapolitan church, is an example of the Renaissance paintings that would make a strong impression on both Spaniards and local artists.
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- 6. Master of the Bolea Altarpiece (active between the last decade
the last decade of the 15th and the first of the 16th centuries)
The Lamentation over the Dead Christ, before 1503
Tempera and oil on panel - 108 x 78 cm
Bolea, collegiate De Santa María De Bolea
Photo: Didier Rykner - See the image in its page
The three panels by the anonymous master (it is not known whether he was Spanish or Italian) called Master of the Bolea Altarpiece bear witness to this strong influence of the great artists active further north in Italy. The one from the altarpiece that gave the artist his name (ill. 6) clearly bears the imprint of both Sandro Botticelli, in the figures on the left, and Piero della Francesca, in those on the right. The other two, while appearing a little different from this one - one of the exhibition’s two curators admits that, after seeing the confrontation, it is no longer certain that they are by the same painter - nevertheless reinforce the demonstration, so present is the Italian Renaissance, particularly around Urbino and the young Raphael.
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- 7. Pedro Fernández (documented from 1510 to 1519)
Polyptych of the Visitation, c. 1508-1510
Oil on panel
Naples, Museo e Real Bosco di Capodimonte
Photo: Didier Rykner - See the image in its page
Pedro Fernández dominates the next section, entitled "Towards the Modern Manner"; he was long known as the Pseudo-Bramantino because of the similarities he bears to the art of this artist. We are dealing here not only with a very great painter, as evidenced by the works presented in the exhibition, but also with a kind of summary of Neapolitan art in the first third of the 13th century. A Spanish painter who first worked in Lombardy, then came to Naples, before returning to his homeland to disseminate the models of the Italian Renaissance. In addition to Spain, Milan was also an important centre for Naples. The curators of the exhibition explained that, in order to find Neapolitan works, they had also searched through the unattributed paintings from Lombardy.
In addition to this painter’s Polyptic of the Visitation (ill. 7), parts of which have been lost, and another, Saint John the Baptist, kept at the Norton Simon Museum, we shall reproduce here two particularly remarkable works by this artist - but all those we were able to see would have deserved to be mentioned: a Saint Biagio (ill. 8) and a Saint Francis of Assisi receiving the stigmata (ill. 9). Both, although truly original, show that the painter looked at both Michelangelo and Raphael on the ceiling of the Sistine Chapel and in the Vatican Rooms.
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- 8. Pedro Fernández
(documented from 1510 to 1519)
Saint Biagio, 1511-1512
Oil on panel - 142.5 x 67 cm
Barcelona, Museu Nacional
d’Art de Catalunya
Photo: Didier Rykner - See the image in its page
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- 9. Pedro Fernández
(documented from 1510 to 1519)
Saint Francis of Assisi Receiving
the Stigmata, c. 1514-1515
Oil on panel - 194 x 151 cm
Turin, Galleria Sabauda
Photo: Didier Rykner - See the image in its page
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- 10. Marco Cardisco
(documented from 1520 to 1542)
Virgin and Child, c. 1517-1520
Oil on cardboard transposed
on canvas - 67 x 82 cm
Turin, Galleria Sabauda
Photo: Didier Rykner - See the image in its page
In fact, it is around Raphael, and the Prado’s Virgin with the Fish that the next part of the exhibition is organised. Other paintings had also prepared the way for this section, including a very fine Virgin and Child by Marco Cardisco (ill. 10), this time of the highest quality, which also shows, along with that of Michelangelo and Raphael, the influence of Cesare da Cesto, a painter from Lombardy, a pupil of Leonardo, who also came to work in Naples. Cesare da Cesto was himself influenced by Raphael, as can be seen in another Virgin and Child (ill. 11).
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- 11. Cesare da Cesto (1447-1523)
Virgin and Child with Angels, 1515
Oil on panel - 142 x 99 cm
Cava de’ Tirreni, Museo della Badia Benedettina della Santissima Trinità
Photo: Didier Rykner - See the image in its page
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- 12. Attributed to Pedro Machuca
( c. 1490-1550)
Madonna del latte, c. 1516
Oil on panel - 81 x 65 cm
Turin, Galleria Sabauda
Photo: Didier Rykner - See the image in its page
Three painters represented by several pictures also form, in a way, a synthesis of this exhibition, both by the diversity of their origins: Spanish, Lombard and Neapolitan and by the influences they betray. We are referring respectively to Pedro Machuca (ill. 12), Polidoro da Caravaggio (ill. 13) and Andrea Sabbatini, known as Andrea da Salerno (ill. 14), the latter much less well known than the other two but just as influenced by Raphael and Michelangelo. And let’s not forget the most famous artist, Alonso Berruguete, who was both a painter and a sculptor.
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- 13. Andrea Sabatini, called Andrea da Salerno (c. 1485-1530/1531)
The Descent from the Cross
Oil on panel - 200 x 136.5 cm
Naples, Museo e Real Bosco di Capodimonte
Photo: Didier Rykner - See the image in its page
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- 14. Polidoro Caldara, known as Polidoro da Caravaggio (c. 1499-c. 1543)
Saint Peter, Saint Andrew, Angel and Virgin of the Annunciation, c. 1543
Oil on panel -
142 x 64 cm and D. 36 cm
Naples, Museo e Real Bosco di Capodimonte
Photo: Didier Rykner - See the image in its page
So far we’ve only talked about the painters, but the sculptors are one of the highlights of this exhibition. Several masterpieces thus punctuate the exhibition.
The first two are the work of Andrea di Pietro Ferrucci, called Andrea da Fiesole (ill. 15 and 16), a nickname that says everything about his origin. A Florentine sculptor who returned to Florence from Naples, where he worked on the Duomo, Ferrucci had a major impact on local sculptors, introducing the style of Verrochio, Andrea Sansovino and Michelangelo, whose influence is particularly visible in the Saint John the Baptist, whose position is obviously derived from that of the Accademia’s David.
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- 15. Andrea di Piero Ferrucci,
called Andrea da Fiesole (1465-1526)
Saint John the Baptist, c. 1508-1510
Marble - 128 x 41 x 40 cm
Naples, chiesa dei Santi Severino e Sossio
Photo: Didier Rykner - See the image in its page
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- 16. Andrea di Piero Ferrucci,
called Andrea da Fiesole (1465-1526)
Saint John the Evangelist, c. 1508-1510
Marble - 128 x 41 x 40 cm
Naples, chiesa dei Santi Severino e Sossio
Photo: Didier Rykner - See the image in its page
One of the most important sculptors to come out of Naples was Giovanni da Nola, a considerable number of whose works can be seen in the city’s churches. One of his sculptures featured in the exhibition (ill. 17) comes from the collection of the Prince of Liechtenstein. It was long attributed to a follower of Donatello.
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- 17. Giovanni Marigliano, called Giovanni da Nola (documented from 1508 to 1551/1553)
Marble - 113.5 x 33 x 25 cm
Vaduz, Collection of the Princes of Liechtenstein
Photo: Didier Rykner - See the image in its page
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- 18. Bartolomé Ordóñez (?-1520)
Saint Matthew and the Angel, c. 1514-1515
Marble - 130 x 42 x 36 cm
Naples, chiesa di San Pietro Martire
Photo: Didier Rykner - See the image in its page
Other sculptors active in Naples at this time include the Spaniards Bartolomé Ordóñez (ill. 18) and Diego de Siloe, the latter much better known than the former, thus Alonso Berruguete whom we have already mentioned above as a painter.
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- 19. Girolamo Santacroce
(c. 1502-c. 1537)
Saint John the Baptist, c. 1532-1536
Marble - 150 x 60 x 55 cm
Naples, Seminario Arcivescovil
Alessio Alascalesi
Photo: Didier Rykner - See the image in its page
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- 20. Girolamo Santacroce
(c. 1502-c. 1537)
Saint John the Baptist, c. 1532-1536
Marble - 150 x 60 x 55 cm
Naples, Seminario Arcivescovil
Alessio Alascalesi
Photo: Didier Rykner - See the image in its page
But the two most beautiful marbles in the exhibition are by a Neapolitan, Girolamo da Santacroce (ill. 19 and 20). Although these two sculptures are to be found in a religious establishment very close to Capodimonte, their arrival was complex to negotiate, and it is frustrating - especially for those who will not have had the chance to see them here - to know that they are very difficult to access. There is a Saint John the Baptist, again, and above all a Saint Benedict of striking purism and stunning beauty.
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- 21. Diego de Siloe (c. 1487/1490-1563)
The Scourged Christ, c. 1525
Polychrome wood - H. 170 cm
Burgos, Museo Catedralicio
Photo: Didier Rykner - See the image in its page
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- 22. Alonso Berruguete (c. 1489-1561)
Saint Sebastian, 1526-1532
Polychrome and gilded wood - 111 x 33 x 41 cm
Valladolid, Museo Nacional de Escultura
Photo: Didier Rykner - See the image in its page
The tour concludes with a room dedicated to Spanish artists returning to their homeland, where they helped to spread the Italian Renaissance while adopting certain local characteristics. Another masterpiece (ill. 21) is the Scourged Christ by Diego de Siloe, who at a very early date already displayed all the characteristics of the Spanish Baroque art that was to develop in the following century. Other works by this artist, such as a Saint John the Baptist and an Archangel Saint Michael, sculptures and paintings by Alonso Berruguete (ill. 22) and Pedro Machuca, and a large altarpiece by Pedro Fernández round off this remarkable exhibition, whose catalogue we strongly recommend should you decide not to visit.
<Curators : Riccardo Naldi and Andrea Zezza.
Under the direction of Riccardo Naldi and Andrea Zezza, Gli Spagnoli a Napoli. Il Rinascimento Meridionale, Artem, 2023, 384 p., €39. ISBN : 9788856909142.