Andrea Sabatini

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St. Nicholas of Bari (approx. 1513–14), originally in Montecassino , currently in the Museo di Capodimonte , Naples

Andrea Sabatini or Andrea da Salerno (* around 1480–90 in Salerno ; † between November 1530 and May 1531 ) was an Italian Renaissance painter who worked in the former Kingdom of Naples .

Life

Little is known about his youth. Bernardo De Dominici said that Andrea was born "around the 1480s"; others consider a year of birth 1489–90 to be probable. According to a contract he received, he was already active in Naples in 1510 as a " maestro " .

Sabatini's oldest surviving work is a triptych Madonna with Child and Saints in the church of Sant'Andrea in Teggiano , dated 1508. In this and in some other early works he is still influenced by Pinturicchio and Perugino , some of which existed in Naples: one altarpiece Assumption of the Virgin in the Cathedral (c. 1506, Perugino) and the same theme by Pinturicchio in the Cappella Tolosa of the church of the Monteoliveto Monastery (1510; today in the Museo di Capodimonte , Naples). Other influences probably came from the Spanish painter Pedro Fernández (called "Pseudo-Bramantino"), who first worked in Milan and Rome , then in Naples.

Subsequently, Andrea Sabatini took up the modern tendencies of Raffael and Leonardo da Vinci in his painting . On the one hand, this is attributed to the arrival of Raphael's Madonna del Pesce (c. 1512) in Naples - an image that had a significant influence on all of Neapolitan painting of the 16th century. On the other hand, it is assumed that Andreas met Cesare da Sesto , one of Leonardo's successors in Milan, who worked in the papal apartments for Julius II in Rome until around 1511 and who can be shown to have lived in the south and in Naples from 1514. The stylistic proximity of Sabatini and da Sesto sometimes led to difficulties in the assignment of some works, such as in the case of the Birth of Jesus in the Goro Collection, which is now in the Museo diocesano in Salerno and was previously considered a major work by Sabatini; In 2009, however, Naldi and Porzio ascribed it to the work of da Sestos and his workshop (Naldi - Porzio, 2009).

From the 1510s until his death, Sabatini worked again and again in the Montecassino Abbey , which was undergoing a phase of radical renewal at that time. Among other things, together with his workshop, he created the decoration of the two chapels of St. Bertario and St. Nicholas of Bari, which were destroyed by the bombs of World War II. The two altarpieces of San Bertario in cattedra (around 1513–14; today in the Museum of Montserrat ) and St. Nicholas in cattedra (today in the Museo di Capodimonte, Naples; see illustration above) have been preserved; a steady rests - fresco of a Madonna and Child with Angels is documented photographically (Pantoni, 1962 & 1963).

Polyptych in Santi Severino e Sossio , Naples

Andrea received other important commissions from other Benedictine monasteries , such as Santi Severino e Sossio in Naples, San Giorgio in Salerno and the Abbazia della Trinità in Cava de 'Tirreni . He also created several altarpieces for the Cathedral of Salerno .

Some works Sabatini, who were particularly highly praised in the early literature, unfortunately lost today, including the polyptych of the high altar in the Neapolitan church of San Gaudioso (probably in 1513;. Resta, 1707, p 53) and a coronation and Assumption in Naples Cathedral (presumably 1515; Ortolani, 1933, p. 21). In 1518, while new work for Montecassino, Andrea was apparently in contact with the miniaturist Matteo da Terranova, who created the abbey's choir stalls. In 1523 an "Andrea Sabatino" inscribed himself in the Augustissima disciplina della Santa Croce of Naples, who is probably identical with the painter.

In the 1520s Sabatini was so successful that, in addition to his work in Montecassino and Naples, he also received many commissions from Salerno, Cava dei Tirreni and Apulia . The involvement of the workshop is becoming increasingly evident, and towards the end of the 1520s, the hand of Severo Ierace , his brother-in-law and future heir of the workshop , can be identified in Sabatini's works . This applies e.g. B. for the main altarpiece in the church of San Giorgio dei Genovesi in Naples.

On January 21, 1529 Andrea received the order for the main altar of the abbey church in Montecassino and was in Gaeta during the summer (presumably because of the polyptych in the Santissima Annunziata , which, however, was largely painted by his pupil and successor Giovan Filippo Criscuolo ). St. Andrew for the church of Santa Maria delle Grazie a Caponapoli (today in the Museo di Capodimonte) comes from the same year , but is also attributed to Criscuolo by many experts.

In the last months of 1529 Andrea Sabatini was in Montecassino, already badly healthily. The last news about the painter comes from November 1530, when he was working on the altarpiece with St. Benedict in cattedra with St. Maurus and Placidus and the Fathers of the Church . He died before May 1531 when his brother-in-law and executor Severo Ierace, who was also the tutor of his son Giovanni Battista, received some wages for the large altarpiece and for other work in the Montecassino Abbey.

Aftermath

Adoration of the Magi , ca.1512, Girolamini , Naples

Andrea da Salerno's art made a deep impression in Naples and southern Italy, but it was apparently not appreciated or not noticed by Vasari (?): Because he did not mention Andrea in his CV ... although he actually did that during his stay in Naples 1544-45 or must have seen other of his works. In the 17th and 18th centuries, Sabatini gradually gained a central position among Neapolitan historians and art connoisseurs in a polemic against Vasari's all too "partisan" view of art history that had broken out throughout Italy. With writers like Resta - who saw Sabatini as a "Neapolitan Raphael" and equated it with Correggio - and with De Dominici Andrea became a pioneer of southern Italian and Neapolitan painting. Dominici dedicated a detailed biography (as always) enriched with romantic anecdotes to him in 1742, emphasizing his size and his role as a pioneer of the “maniera moderna” in the south. Since then, Sabatini has been considered the head of a Neapolitan school of the Renaissance. In the 19th century he was highly valued by Jacob Burckhardt and Gustavo Frizzoni , the latter praising his "spontaneous grace" and his "natural artistic flair" ( "grazia spontanea" e il "naturale senso artistico" , Frizzoni, 1891).

In the more recent specialist literature, Sabatini is still highly valued, but his leading role in the spread of the “ maniera moderna ” in the south has been relativized in favor of the equally important role played by foreign artists such as Cesare da Sesto and the Spaniards Pedro Fernández (“Pseudo- Bramantino ”) and Pedro Machuca came to this process - artists who had been pushed into the background by a regionalist historiography in the sense of De Dominici.

Works

Polyptych Mystic Marriage of St. Catherine (dated 1519), Sant'Antonio, Nocera Inferiore
Descent from the Cross , Museo di Capodimonte, Naples
  • Triptych Madonna with Child and Saints , in the Church of Sant'Andrea in Teggiano , dated 1508.
  • Polyptych Madonna delle Grazie and Saints , in the Church of San Giacomo Apostolo by San Valentino Torio , November 1510-July 1511
  • Polyptych Madonna delle misericordia and saints (for the Church of Sant 'Antonio, Buccino), Pinacoteca provinciale, Salerno , ca.1512
  • Walk to the Calvary , refectory in the monastery of Santa Maria la Nova , Naples, approx. 1510–12
  • St. Anna Metterza with the Virgin Mary, who hands over her habit to the Dominicans , Convent of Sant'Anna, Nocera Inferiore , approx. 1510–11
  • St. Francis and the Wolf by Gubbio , Museo di Capodimonte , Naples, approx. 1510–12
  • Triptych Madonna with Child and St. Peter and John the Elder T. (originally for the Abbey of Santa Maria, Banzi), Palazzo Lanfranchi, Matera
  • Adoration of the Magi , Girolamini Picture Gallery , Naples, ca.1512
  • Birth of Jesus , 1970 in the antique trade (Romano, 1970)
  • St. Bertario in cattedra (formerly in the Montecassino Abbey ) today in the Museum of Montserrat , around 1513-14
  • St. Nicholas in cattedra , (formerly in the Montecassino Abbey) Museo di Capodimonte, Naples, around 1513-14
  • Madonna with Child and Saints , in Santi Severino e Sossio , Naples
  • Scenes of the Passion of St. Gennaro , frescoes in the atrium of San Gennaro fuori le Mura , Naples (poorly preserved)
  • Baptism of Jesus , Montecassino Abbey , 1518 (?)
  • Adoration of the Magi , (formerly in the Cathedral of Salerno) Museo di Capodimonte, Naples
  • Lamentation of the dead Christ ( Pietà ), (formerly in the cathedral of Salerno ), Museo Diocesano, Salerno, ca.1518
  • Mystical Wedding of St. Catherine , Sant'Antonio Monastery, Nocera Inferiore , signed and dated 1519
  • Madonna of Constantinople , San Francesco, Eboli
  • Madonna delle grazie ( Madonna of Mercy ), Capriglia
  • Madonna delle grazie with St. Hieronymus, Andreas and a donor , Alte Pinakothek , Munich
  • Polyptych for Iacopo de Riccardo , Museo di Capodimonte, Naples, dated 1521
  • Madonna and Child and Saints for Biagio Milanesi (formerly in Gaeta Cathedral), Compton Wynyates House, dated 1522
  • Madonna Enthroned with Child and Saints , with the lunette The Risen Christ appears to his mother , Benedictine Church of San Giorgio, Salerno, dated 1523
  • Polyptych Madonna with Child and Saints , in the Church of Sant'Agostino, Barletta , dated 1523 (together with the workshop)
  • Polyptych (on a gold background) in the Church of San Pietro, Fisciano , signed and dated 1526
  • Main altar in San Giorgio dei Genovesi, Naples (together with Severo Ierace)
  • St. Benedict in cattedra with St. Maurus and Placidus and the church fathers , main altar of the Montecassino abbey church, 1529–30

literature

  • Sebastiano Resta: Indice del libro intitolato Parnaso de 'pittori , Perugia 1707, pp. 19, 52 f. (Reprinted by: Forgotten Books, 2018)
  • Bernardo De Dominici: Vite de 'pittori scultori ed architetti napoletani , Naples, 1742–1745 (edited by F. Sricchia Santoro and Andrea Zezza, Naples 2003–2014, vol. II, pp. 502–532)
  • Jakob Burckhardt: Il Cicerone , Basel 1855 (Florence 1952), p. 1024
  • Angelo Pantoni: "L'opera di Andrea Sabatini a Montecassino", in: Rassegna storica salernitana, XXIII (1962), pp. 133-154
  • Angelo Pantoni: “Due pitture di Andrea da Salerno per Montecassino e le loro vicende”, in: Commentari, ns, XIV (1963), pp. 160-169
  • Francesco Abbate, Giovanni Previtali: "La pittura napoletana del '500", in: Storia di Napoli, V, 2 , Naples 1972, pp. 829–911 (especially pp. 834–840)
  • Giovanni Previtali: La pittura del Cinquecento a Napoli e nel vicereame , Turin, 1978, pp. 14-17
  • Paola Giusti, Pierluigi Leone de Castris: 'Forastieri e regnicoli'. La pittura moderna a Napoli nel primo Cinquecento , Naples 1985, pp. 113-199
  • Giovanni Previtali: Andrea da Salerno nel Rinascimento meridionale (Catalog of the Certosa di Padula), Florence 1986
  • Pierluigi Leone de Castris: Museo e Gallerie Nazionali di Capodimonte. Dipinti dal XIII al XVI secolo. Le collezioni borboniche e post-unitarie , Naples 1999, pp. 138 f & 212-218
  • Francesco Abbate: Storia dell'arte nell'Italia meridionale, III, Il Cinquecento , Rome 2001, pp. 50–62 (and pp. 83–91 for the influence of Fernández and Machuca), “online as Googlebook” (accessed on 28. April 2019)
  • Riccardo Naldi: "Frammento di una 'Adorazione dei Magi' di Andrea da Salerno," simpatico maestro del primo Cinquecento italiano "", in: Per Giovanni Romano. Scritti di amici , Savigliano 2009, p. 128 f
  • Riccardo Naldi, Giuseppe Porzio: Per Cesare da Sesto a Napoli. La tavola con l'Adorazione del Bambino , Napoli 2009, passim
  • Pierluigi Leone de Castris: Andrea Sabatini da Salerno. Il Raffaello di Napoli , Arte'm, Naples, 2017 (Italian)
  • Andrea Zezza:  Sabatini, Andrea, detto also Andrea da Salerno. In: Raffaele Romanelli (ed.): Dizionario Biografico degli Italiani (DBI). Volume 89:  Rovereto – Salvemini. Istituto della Enciclopedia Italiana, Rome 2017.

Web links

Commons : Andrea da Salerno (Andrea Sabatini)  - Collection of images, videos and audio files
  • Video about works by Andrea Sabatini in the Museo Diocesano in Salerno on "Youtube" , March 22, 2014 (Italian; accessed April 29, 2019)
  • The Pietà by Sabatini on "Salerno Capitale" , March 22, 2014 (Italian; accessed April 29, 2019)
  • Paolo Gallinaro: "Andrea Sabatini, un raffaellita a Napoli", January 22, 2014, "online" (Italian; accessed April 29, 2019)
  • Gerardo Pecci: "Andrea Sabatini e il Trittico di Teggiano", December 12, 2013, "online" (Italian; accessed April 29, 2019)
  • Gerardo Pecci: "Andrea Sabatini e il modo" raffaellesco "di dipingere i quadri", February 22, 2016, online at "lacittadisalerno.it" (Italian; accessed April 29, 2019)

Individual evidence

  1. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag Andrea Zezza:  Andrea Sabatini. In: Dizionario Biografico degli Italiani (DBI).
  2. ↑ Francesco Abbate: Storia dell'arte nell'Italia meridionale, III, Il Cinquecento , Rome 2001, pp. 83-91 for the influence of Fernández and Machuca, "online as Googlebook" (accessed April 28, 2019)
  3. ↑ Gerardo Pecci: "Andrea Sabatini e il Trittico di Teggiano", December 12, 2013, "online" (Italian; accessed April 29, 2019)
  4. ↑ a b c d See the video about works by Andrea Sabatini in the Museo Diocesano in Salerno on "Youtube" , March 22, 2014 (Italian; accessed April 29, 2019)
  5. ^ The Pietà by Sabatini on "Salerno Capitale" , March 22, 2014 (Italian; accessed April 29, 2019)
personal data
SURNAME Sabatini, Andrea
ALTERNATIVE NAMES Salerno, Andrea there
BRIEF DESCRIPTION Italian painter
DATE OF BIRTH uncertain: between 1480 and 1490
PLACE OF BIRTH Salerno , Italy
DATE OF DEATH between November 1530 and May 1531
Place of death Gaeta , Italy