An unpublished letter by Roberto Longhi to Carlo Ludovico Ragghianti, containing a reference to a «Maestro di Caravaggio» exihibition that took place in the summer of 1939 in Udine, at the same time Fiocco published his important monograph dedicated to Giovanni Antonio da Pordenone, is the start of a debate about Michelangelo Merisi’s artistic training, showing two different perspectives. While Longhi tended to lead it back to the Lombardian scenario, Fiocco implicitly tried to demonstrate that Caravaggio got inspiration from venetian masters.
Elisa Bassetto (2019). Breve nota intorno al «Maestro di Caravaggio». Giovanni Antonio da Pordenone tra Fiocco e Longhi. MUSICA & FIGURA, 6, 145-152.
Breve nota intorno al «Maestro di Caravaggio». Giovanni Antonio da Pordenone tra Fiocco e Longhi
Elisa Bassetto
2019
Abstract
An unpublished letter by Roberto Longhi to Carlo Ludovico Ragghianti, containing a reference to a «Maestro di Caravaggio» exihibition that took place in the summer of 1939 in Udine, at the same time Fiocco published his important monograph dedicated to Giovanni Antonio da Pordenone, is the start of a debate about Michelangelo Merisi’s artistic training, showing two different perspectives. While Longhi tended to lead it back to the Lombardian scenario, Fiocco implicitly tried to demonstrate that Caravaggio got inspiration from venetian masters.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
