This thesis aims to address the figure of Francesco Squarcione in the role of painter and teacher and his influence on the Padua area of the 15th century. In critical history he is the subject of conflicting opinions, he is often pointed out as an incapable artist and a cruel master. Nonetheless, artists of the caliber of Andrea Mantegna were trained in his Padua workshop in Pontecorvo. The objective of this essay is to collect documentary information regarding Squarcione and try to shed light on this chapter of Paduan pictorial history. Currently the painter is recognized as the author of only two works: the Pala de Lazara and the Madonna and Child of Berlin. However, there are numerous works attributed to him without sufficient elements confirming the authorship. Here we intend to analyze one of these works, the Arzignano Polyptych, in comparison with the Lazara Polyptych, with the aim of being able to determine its authorship.
La presente tesi si propone di affrontare la figura di Francesco Squarcione nel ruolo di pittore e insegnante e la sua influenza sul territorio padovano del XV secolo. Nella storia critica egli è oggetto di opinioni contrastanti, viene spesso additato come artista incapace e maestro crudele. Ciononostante, nella sua bottega padovana a Pontecorvo si formeranno artisti del calibro di Andrea Mantegna. L'obbiettivo di questo elaborato è raccogliere le informazioni documentarie riguardo Squarcione e cercare di fare chiarezza su questo capitolo della storia pittorica padovana. Attualmente al pittore viene riconosciuta la paternità di sole due opere: la Pala de Lazara e la Madonna con Bambino di Berlino. Sono tuttavia numerosi i lavori ad egli attribuiti pur senza sufficienti elementi che ne confermino l'autore. In questa sede si intende analizzare una di queste opere, il Polittico di Arzignano, in un confronto con il Polittico de Lazara, con lo scopo di poterne determinare la paternità.
Su Francesco Squarcione: due polittici a confronto
NARDETTO, SARA
2023/2024
Abstract
This thesis aims to address the figure of Francesco Squarcione in the role of painter and teacher and his influence on the Padua area of the 15th century. In critical history he is the subject of conflicting opinions, he is often pointed out as an incapable artist and a cruel master. Nonetheless, artists of the caliber of Andrea Mantegna were trained in his Padua workshop in Pontecorvo. The objective of this essay is to collect documentary information regarding Squarcione and try to shed light on this chapter of Paduan pictorial history. Currently the painter is recognized as the author of only two works: the Pala de Lazara and the Madonna and Child of Berlin. However, there are numerous works attributed to him without sufficient elements confirming the authorship. Here we intend to analyze one of these works, the Arzignano Polyptych, in comparison with the Lazara Polyptych, with the aim of being able to determine its authorship.File | Dimensione | Formato | |
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SU FRANCESCO SQUARCIONE, Nardetto (5).pdf
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https://hdl.handle.net/20.500.12608/65550