カラヴァッジョ最後期の作品を見る。魂の深さに感動する。

2019/10/29 - 2019/10/29

ナポリに来たからにはカラヴァッジョを見なくてはいけません。前回（昨年１１月）は、カポディモンテ美術館に行ったので、今回は、セヴァロス・スティリアーノ宮美術館でカラヴァッジョを見ました。この光、この精神性。感動しました。

エリア ナポリ(イタリア)

• 旅行の満足度: 4.5
• 観光: 4.5

• 交通手段: 徒歩
• 旅行の手配内容: 個別手配

カポディモンテ美術館は昨年の１１月に行ったので，
https://4travel.jp/travelogue/11426553
今回は，ゼヴァロス スティリアーノ宮美術館に来ました。
正式名は、
Palazzo Zevallos Stigliano。

ゼヴァロス スティリアーノ宮美術館 博物館・美術館・ギャラリー

中央に吹き抜けのある建物です。

天井。

Milano のPiazza Scala と Vicenza のPalazzo Leoni Montanari と三つで、Gallerie d'Italia を構成しています。G d'I がロゴマークです。切符にG d'I が大きく印刷されています。

コレクションの案内にそって、うつしてみます。

THE SEICENTO AND THE SETTECENTO
Climbing the grand staircase in Palazzo Zevallos Stigliano, we access the second floor, through which the exhibition route of the Gallerie d’Italia in Naples winds.

To Start With, the Last Caravaggio

Ideally, the itinerary departs from the Sala degli Stucchi (“Hall of Stuccoes”), which hosts the undisputed masterpiece of the collection: the tragic Martirio di Sant’Orsola (“Martyrdom of Saint Ursula”, 1610), painted in Naples by Caravaggio just over a month before his death. Here, the episode of the saint’s martyrdom is focused on its defining moment and reduced to the bare essentials, breaking out of the mould of the previous iconographic tradition.

Luca Giordano and the Baroque turn

It was primarily the genius of Luca Giordano that brought new life to the painting tradition of the first half of the 17th century, which. was still relying on a naturalistic vein derived from Caravaggio. Beginning in the years following the serious plague in 1656, he was able to impress a determined turn towards the Baroque to the local artistic milieu, even by retrieving the Roman sources of that style.

The monumental Rape of Helen, hitherto hardly known to the wide public due to the few places and exhibitions suitable for its huge dimensions, constitutes an excellent example of Giordano's typical production of mythological and literary themes. Yet, this work still bears witness to a returning influence of Ribera's Realism: this tendency has to be related to the mid 1660s, when Giordano began to adopt systematically the Spanish painter's techniques, urged by the market and by the tenebrist fashion, as recent studies have clearly demonstrated.

In The Immaculate Conception the dissipation of the pictorial material into light is taking place. This process is in evidence in Giordano's oeuvre from the beginning of the 1680s.

The Protagonists of the Neapolitan Seicento

The tour continues with the Sala degli Amorini, which owes its name to the presence of putti (or “amorini”) in the decoration of the vaulting, accompanied by an opulent wall frieze that runs along the perimeter of the room.

Visitors to this hall find themselves face-to-face with our 17th-century collection capable of outlining the main vicissitudes of painting in Naples throughout the century: from the naturalistic shift brought about by Caravaggio’s 1606 arrival in Naples all the way down to the magnificence of the Baroque season.

Amongst the treasures kept here:

Judith Beheading Holofernes, attributed to Louis Finson, a Flemish artist who painted in the Caravaggesque style
the solemn Saint George by Francesco Guarini, set somewhere between Massimo Stanzione’s patrician grace and Jusepe de Ribera’s intense realism
Samson and Delilah, typical creation of Artemisia Gentileschi ?a tragic, extraordinarily intense painter of the Italian Seicento ?and her repertoire of female heroines.

なかなか立派なコレクションがそろっています。

The Baroque Art of Luca Giordano

We owe the renewal of the painting tradition mainly to the brilliance of Luca Giordano, who was behind the crucial shift towards the Baroque.

Amongst his masterpieces, the monumental Rape of Helen (c. 1660) is an excellent example of the production of literary-mythological characters typical of his career.

An exemplary stage in the continuation of the Baroque direction started off by Luca Giordano is undoubtedly represented by Francesco Solimena’s stunning canvas depicting Hagar and Ismael in the Desert Comforted by the Angel (c. 1690). Despite its pictorial exuberance, the work conveys the quest for a resoluteness and nobility in drawing that heralded the classic tendencies of the new century.

Francesco Di Maria’s artwork belongs to an alternative academic line compared to Giordano’s pictorial exuberance; we can admire his Cristo benedicente (c. 1658), inspired by principles of drawing precision and classic order.


Between Still Lifes and Pitture Ridicole

The still life represents one of the main components of the collection of the Gallerie d’Italia in Naples. This art genre is illustrated by a small yet incisive selection of paintings, including two Sottoboschi (“Underwoods”, c. 1650-1656) by Paolo Porpora ? Italian pioneer of the specialty ? and two renowned compositions by the more famous and versatile painter Giuseppe Recco.

Standout works from the Settecento include the two paintings by Gaspare Traversi, Neapolitan by birth and training, but permanently based in Rome as of the 1750s: La lettera segreta and Il concerto, (“The Secret Letter” and “The Concert”, both c. 1755-1760) belong to the repertoire most typical of his production, which can be set within the genre of the “pitture ridicule” (“ridiculous paintings”) so dear to comic-popular tradition.


Van Wittel’s Vedute of Naples

The Sala degli Uccelli (“Hall of Birds”) of the Gallerie d’Italia houses paintings that outline the history of representation of Naples and the Campania region between the 18th and 19th centuries.

The exhibition starts off with four canvases by Dutch artist Gaspar van Wittel, regarded as one of the founders of modern vedutismo, based on the nearly topographical precision of painted scenes. The Veduta di Napoli con Largo di Palazzo (“View of Naples with Building Square”, first quarter of the 18th century) and the Veduta di Napoli con il borgo di Chiaia da Pizzofalcone (“View of Naples with the Village of Chiaia da Pizzofalcone”, 1729) ? extraordinary for their accuracy and overall breadth ? are especially noteworthy.

バロックかな。

The Schools of Landscape Painting: Posillipo and Resina

風景画。

風景画。

風景画。

いよいよ、カラヴァッジョです。

CARAVAGGIO (Michelangelo Merisi)
Milano 1571. ? Porto Ercole 1610

Martirio di sant'Orsola /The Martyrdom of Saint Ursula
1610
olio su tela / oil on canvas


Caravaggio's tragic Martydom of Saint Ursula certainly the absolute summit of the collection of Intesa Sanpaolo. It was the painter's last work, completed in Naples in May 1610, a little more testifying to the Lombardian artist's activity in Naples, along with the Seven Works of Mercy for the Church of Pio Monte della Misericordia and The Flagellation of Christ for the Church of San Domenico Maggiore, now kept at the Museum of Capodimonte.

Accordthg to the narrative Saint Ursula was a Christian Breton princess murdered in Cologne, on her way back from a pilgrimage with eleven thousand virgins, by a Hun king who had fallen in love with her. The canvas focuses on the episode at the moment of culmination and yet is reduced to the essential, departing from the schemes of the previous iconographic tendencies. Among the witnesses to the dramatic scene is the painter himself, whose self-portrait appears on the right side, behind the Saint, as if he foreboded his impending death.

The work was commissioned by Prince Marcantonio Doria through his Neapolitan agent, Lanfranco Massa, and hastily shipped to Genoa after leaving the painter's atelier still wet (which accounts for its problematic preservation) It also went through a sequence of complicated events before it was acquired by the Banca Commerciale Italiana in 1972. At that time it was thought to be a painting by Mattia Preti. Its actual attribution and crucial meaning in history were definitely established through archival research in 1980.

Over the centuries the canvas had suffered several alterations ? damages, expansions, repaintings ? which had resulted in a different texture. In order to remedy this situation the Bank finally promoted a radical restoration, which was carried out by the Istituto Superiore per la Conservazione ed it Restauro di Roma between 2003 and 2004. As a consequence, the original.
consistency of the image, now more faithful and close to the
author's intentions, was brought back.

説明の続き。

IL MARTIRIO DI SANT’ORSOLA (THE MARTYRDOM OF SAINT URSULA)
『聖ウルスラの殉教』

On the second floor of Palazzo Zevallos Stigliano, the elegant Sala degli Stucchi (“Hall of Stuccoes”) hosts the jewel of the permanent collection of the Gallerie d’Italia ? Palazzo Zevallos Stigliano in Naples: we are speaking of the Martirio di Sant’Orsola (“The Martyrdom of Saint Ursula”), Caravaggio’s last work, which depicts the defining moment in the slaying of Ursula, transfixed by an arrow shot by the king to whom she had refused to give herself.

In 1610, Michelangelo Merisi found himself in Naples for the second time in his life, after his 1606-1607 sojourn; he painted several public and private works here, including the Martyrdom, commissioned by Genoese collector Marco Antonio Doria. The painting was dispatched to its new owner in a rush with its paint still wet ? thus giving rise to its complicated preservation history.

The painting arrived safely in Genoa ? where it was received almost tepidly, amongst general indifference ? in June of the year 1610. It remained in the city of the Doria family until 1832, when it finally returned to Naples in the wake of complex inheritance issues.

『聖ウルスラの殉教』

カラヴァッジョの、（実質的な）最後の作品です。

光の具合と色合いが、実物は、画集とは、ぜんぜん違う。

光がすごい。

カラヴァッジョの光です。

油絵でこんな光を作るのです。

Caravaggio's tragic Martydom of Saint Ursula certainly the absolute summit of the collection of Intesa Sanpaolo. It was the painter's last work, completed in Naples in May 1610, a little more testifying to the Lombardian artist's activity in Naples, along with the Seven Works of Mercy for the Church of Pio Monte della Misericordia and The Flagellation of Christ for the Church of San Domenico Maggiore, now kept at the Museum of Capodimonte.

Accordthg to the narrative Saint Ursula was a Christian Breton princess murdered in Cologne, on her way back from a pilgrimage with eleven thousand virgins, by a Hun king who had fallen in love with her. The canvas focuses on the episode at the moment of culmination and yet is reduced to the essential, departing from the schemes of the previous iconographic tendencies. Among the witnesses to the dramatic scene is the painter himself, whose self-portrait appears on the right side, behind the Saint, as if he foreboded his impending death.

The work was commissioned by Prince Marcantonio Doria through his Neapolitan agent, Lanfranco Massa, and hastily shipped to Genoa after leaving the painter's atelier still wet (which accounts for its problematic preservation) It also went through a sequence of complicated events before it was acquired by the Banca Commerciale Italiana in 1972. At that time it was thought to be a painting by Mattia Preti. Its actual attribution and crucial meaning in history were definitely established through archival research in 1980.

Over the centuries the canvas had suffered several alterations ? damages, expansions, repaintings ? which had resulted in a different texture. In order to remedy this situation the Bank finally promoted a radical restoration, which was carried out by the Istituto Superiore per la Conservazione ed it Restauro di Roma between 2003 and 2004. As a consequence, the original.

すごい。感動します。

G d'I のロゴマーク。

特別展もやっていました。

現代美術です。

中央の吹き抜け。

玄関。

お疲れ様でした。

ゼヴァロス スティリアーノ宮美術館 博物館・美術館・ギャラリー

さあ、ランチに行きましょう。

ナポリ歴史地区 旧市街・古い町並み