An analysis of the painting now attributed to Domenico Peruzzini depicting The Trinity Appears to Saint Stephen, which had already been executed for the church of Santo Stefano in Potenza Picena by the time it had been renovated and dedicated to Saint Ignatius of Loyola, has led to a reconstruction of the painter’s relationship with the Pesarese artist Simone Cantarini. Since, on chronological grounds, Peruzzini could not have been one of his students, here his references to Cantarini’s late works, adopted as models, are identified. The essay highlights Peruzzini’s knowledge of paintings in the Marches and Romagna, evidence of the cultural relationships between the two regions.
Domenico Peruzzini: un nuovo dipinto
Anna Maria Ambrosini Massari
2017
Abstract
An analysis of the painting now attributed to Domenico Peruzzini depicting The Trinity Appears to Saint Stephen, which had already been executed for the church of Santo Stefano in Potenza Picena by the time it had been renovated and dedicated to Saint Ignatius of Loyola, has led to a reconstruction of the painter’s relationship with the Pesarese artist Simone Cantarini. Since, on chronological grounds, Peruzzini could not have been one of his students, here his references to Cantarini’s late works, adopted as models, are identified. The essay highlights Peruzzini’s knowledge of paintings in the Marches and Romagna, evidence of the cultural relationships between the two regions.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
