Um fidalgo florentino: Allori E Piero De’Medici no MASP
Data
2024-06-19
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
Esta pesquisa analisa a pintura “Retrato de um fidalgo florentino”, pertencente ao Museu de Arte de São Paulo (Masp) e atribuída ao pintor italiano Alessandro Allori e ateliê (sem data). O objetivo foi discutir sua origem, atribuição e quem seria o personagem retratado. Vinda da Itália e adquirida em 1948 como pintura de Agnolo Bronzino, a obra tem uma versão ampliada do mesmo cavalheiro, leiloada pela Sotheby’s e hoje em coleção privada europeia. Para a análise, partiu-se do exame dos documentos sobre a pintura existentes no Masp, e outros que estão disponíveis em bancos de dados internacionais, como testamentos e inventários. Também foram estudadas as biografias dos dois artistas indicados ao longo do tempo como possíveis autores, Bronzino e Allori, para entender o processo da compra pelo Masp e da posterior alteração da atribuição, assim como foram feitas comparações iconográficas que auxiliaram neste quesito. A retratística de corte, incluindo os manuais e tratados de moda, ajudaram a situar a pintura no período em que viveu Allori. O exame para análise dos materiais que compõem a obra, feito por meio de uma parceria com o Laboratório de Arqueometria e Ciências Aplicadas ao Patrimônio Cultural do Instituto de Física da Universidade de São Paulo (LACAPC-IFUSP), permitiu descartar que a pintura seja do século XIX ou do século XX e ajudou a comprovar a origem da obra como sendo o Palazzo Barberini. O conjunto de elementos reunidos pela pesquisa oferecem ao Masp informações úteis para a atualização dos dados e materiais de divulgação a respeito da pintura, sobre seu estado de conservação e permitem manter a atual atribuição da pintura a Allori e ateliê.
This research analyzes the painting "Portrait of a Florentine Nobleman," belonging to the São Paulo Museum of Art (MASP) and attributed to the Italian painter Alessandro Allori and his workshop (undated). The objective was to discuss its origin, attribution, and the identity of the portrayed character. Coming from Italy and acquired in 1948 as a painting by Agnolo Bronzino, the work has an enlarged version of the same gentleman, auctioned by Sotheby's and now in a private European collection. For the analysis, we started with an examination of the documents about the painting existing at MASP and others available in international databases, such as wills and inventories. The biographies of the two artists indicated over time as possible authors, Bronzino and Allori, were also studied to understand the process of the purchase by MASP and the subsequent change in attribution, as well as iconographic comparisons that aided in this aspect. Court portraiture, including fashion manuals and treatises, helped situate the painting in the period when Allori lived. The examination for the analysis of the materials composing the work, conducted through a partnership with the Laboratory of Archaeometry and Applied Sciences to Cultural Heritage at the Institute of Physics of the University of São Paulo (LACAPC-IFUSP), allowed for the exclusion of the possibility that the painting is from the 19th or 20th century and helped confirm the origin of the work as being from the Palazzo Barberini. The set of elements gathered by the research provide MASP with useful information for updating the data and dissemination materials regarding the painting, its state of conservation, and allow for maintaining the current attribution of the painting to Allori and his workshop.
This research analyzes the painting "Portrait of a Florentine Nobleman," belonging to the São Paulo Museum of Art (MASP) and attributed to the Italian painter Alessandro Allori and his workshop (undated). The objective was to discuss its origin, attribution, and the identity of the portrayed character. Coming from Italy and acquired in 1948 as a painting by Agnolo Bronzino, the work has an enlarged version of the same gentleman, auctioned by Sotheby's and now in a private European collection. For the analysis, we started with an examination of the documents about the painting existing at MASP and others available in international databases, such as wills and inventories. The biographies of the two artists indicated over time as possible authors, Bronzino and Allori, were also studied to understand the process of the purchase by MASP and the subsequent change in attribution, as well as iconographic comparisons that aided in this aspect. Court portraiture, including fashion manuals and treatises, helped situate the painting in the period when Allori lived. The examination for the analysis of the materials composing the work, conducted through a partnership with the Laboratory of Archaeometry and Applied Sciences to Cultural Heritage at the Institute of Physics of the University of São Paulo (LACAPC-IFUSP), allowed for the exclusion of the possibility that the painting is from the 19th or 20th century and helped confirm the origin of the work as being from the Palazzo Barberini. The set of elements gathered by the research provide MASP with useful information for updating the data and dissemination materials regarding the painting, its state of conservation, and allow for maintaining the current attribution of the painting to Allori and his workshop.
Descrição
Citação
SIMÕES, Janaína Angélica. Um fidalgo florentino: Allori e Piero de’Medici no Masp. Dissertação para obtenção do título de mestre no Pós-Graduação em História da Arte da Escola de Filosofia, Letras e Ciências Humanas Universidade Federal de São Paulo. Guarulhos: 2024.