Just over a decade after Marcantonio Raimondi’s Deposition (1520-25) was printed in Rome, the engraving was used as a model for a painting (Museo di Arte Sacra, Ozieri), variously attributed to the so-called “Master of Ozieri'' in Sardinia, to the Spanish artist Alonso Berruguete (when at the auction house Finarte in Milan), and more recently to an “Iberian mannerist.” Examination of this Deposition in relation to other works produced on the island in the 1530s and 40s provides insights into a transitory moment of painting in Sardinia when Raphaelism, prints, and foreign influence simultaneously shaped artistic production. This work also poses questions regarding authorship, local production, and the dissemination of style.
Maria Vittoria Spissu, Lia Markey (2021). A Deposition in Sardinia from the Mid-Cinquecento: Raphael, Engraving, and the Iberian Artistic Network. New York City : Columbia University [10.7916/XJJK-6H28].
A Deposition in Sardinia from the Mid-Cinquecento: Raphael, Engraving, and the Iberian Artistic Network
Maria Vittoria Spissu
Co-primo
Conceptualization
;
2021
Abstract
Just over a decade after Marcantonio Raimondi’s Deposition (1520-25) was printed in Rome, the engraving was used as a model for a painting (Museo di Arte Sacra, Ozieri), variously attributed to the so-called “Master of Ozieri'' in Sardinia, to the Spanish artist Alonso Berruguete (when at the auction house Finarte in Milan), and more recently to an “Iberian mannerist.” Examination of this Deposition in relation to other works produced on the island in the 1530s and 40s provides insights into a transitory moment of painting in Sardinia when Raphaelism, prints, and foreign influence simultaneously shaped artistic production. This work also poses questions regarding authorship, local production, and the dissemination of style.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
