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Pittura di istoria e manipolazione iconografica: il modello veneziano e il Paradiso terrestre con il peccato originale di Jan Brueghel e Peter Paul Rubens, pp. 116-132.2013 •
Artistic specialization constitutes the founding principle of the classification per pictorial genres. Around 1600 it was Karel van Mander (1604) who on the base of XVIth-century historiographical models may have been the first to register how each artist’s individual character is based both on his innate, individual predisposition and the technical variety at his disposal. This thesis can be perfectly illustrated by the The Garden of Eden with the Fall of Man, painted conjointly by Jan Brueghel the Elder and Pieter Paul Rubens. Brilliantly integrating narrative scenes into landscape, the two great artists transformed the traditional iconography of The Fall of Man into a new pictorial category (“genre”), which preludes to thematic specialization and to pictorial genres. Venetian painting, more in particular of Jacopo Bassano and Titian, offers a model for this iconographical manipulation, in line with Van Mander’s idea. In the writings of Federico Borromeo and Roberto Bellarmino one finds a cultural reference system for the reception of this new kind of devotional painting. The symbols of Nature and the Holy Scripture in particular offer the observer new keys to understand Salvation. In line with neo-stoic philosophy – familiar to both artists –, one might even propose a political reading of the picture in reference to the Twelve-Years-Truce (1609-1621).
Firenze: Mandragora; Lisbona: CHAM, 2019, pp. 19-33
Cattaneo, Angelo, "Cosimo III e il mondo globale di metà Seicento attraverso la collezione delle Carte di Castello", in Cattaneo, Angelo; Corbellini, Sabrina, SGUARDI GLOBALI. Mappe olandesi, spagnole e portoghesi nelle collezioni del Granduca Cosimo III de’ Medici. Firenze, Lisbona, 2019, pp. 19-332019 •
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