Fabrizio Santafede

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Holy Family with Saint Dorothea , private collection

Fabrizio Santafede (* approx. 1555 , probably in Naples ; † between February and April 1626 in Naples) was an Italian painter between Late Mannerism and Early Baroque , who was mainly active in and around Naples and in southern Italy .

history

Fabrizio was probably born in Naples around 1555, according to Zezza (2003, p. 196), the names of his parents are not known. According to a report by Massimo Stanzione , who described himself as a student of Santafede, Fabrizio's father was Francesco, was a painter himself and learned from Andrea di Salerno (or Sabbatini). Fabrizio first learned his trade from his father and later did an apprenticeship with Francesco Curia . The art theorist De Dominici (1745, p. 235) reports all of this .

From the end of the 1560s Fabrizio was demonstrably a student of Marco Pino , the city's leading painter at the time. This emerges from a testimony in a trial that Pino and his daughter Giulia conducted against Antonio Spano in 1575, and also that Santafede was "about 20 years old" (" etatis annorum viginti in circa ") at that time . A year later in 1576 Fabrizio married Isabella Ciminello, with whom he had several children.

His oldest identifiable work is the Depiction of Epifanias in San Biagio in Aversa (c. 1575), which is a slightly modified replica of a picture by Pino in Sant 'Antoniello ai Vergini in Naples.

In Santafede's work, however, a “natural, calm expression” ( naturale pacatezza espressiva ) of its own , with “well-balanced, symmetrical compositions” ( composizioni simmetriche ed equilibrate ), which are far removed from the style of his teacher Pino, shows up early on .

De Dominici claims - partly again with reference to Massimo Stanzione - that Fabrizio has traveled widely, and u. a. spent two years in Rome , also in Lombardy , Parma , Modena , Bologna , Venice and Florence , studying the works of the most important masters such as Raphael , Correggio , Titian , Veronese and Andrea del Sarto ; He is said to have especially "admired and praised" del Sarto. On his travels he is said to have come into contact with the reform efforts of the Carracci ; In Venice he got to know Tintoretto personally and made friends with Jacopo Palma il Giovane and Leandro Bassano . De Mieri also sees the influence of the latter two on Santafede's painting, but above all names Raphael and painters such as Federico Zuccari or Barrocci as models . According to De Mieri, possible further influences on Santafede's work could also have emanated from the “soft and harmonious forms and principles of naturalness” of the Tuscan 'Reform' painters Santi di Tito and Domenico Passignano ; he may also have a tendency towards the latter adopted for the Venetian coloring . Santafede's "language of piety" ( linguaggio di pietà ) corresponded to the then modern trend and the demands of the Counter-Reformation , similar to how Cornelis Smet , Giovan Bernardo Lama and Silvestro Buono expressed it in their works.

The art connoisseur and writer Carlo Celano highlighted Fabrizio Santafede's pioneering role in Naples, as an artist who turned away from the "artificial" style of the Mannerists and "put art back on the right path":

“... what he achieved through works that are so 'chaste' in the drawing, so fragrant and lovely in color, with an expression that is so beautiful and true at the same time that they deserve the general applause, and that one called him the Neapolitan Raphael.

... ciò che ottenne facendo opere sì castigate nel disegno, sì leggiadre e soavi nel colore, con espressione bella congiunta al vero, che gli meritarono il plauso universale sì che ne fu chiamato il Raffaello napolitano. "

- Carlo Celano : Notes del bello dell'antico e del curioso della città di Napoli ... , volume I
Entombment of Christ , 140 × 140cm, Museum of Cádiz

Santafede's reputation as one of the leading painters of his time had been so solidified in 1592 that he was chosen by the Spanish viceroy Juan de Zúñiga in 1592 to paint the scene of the Annunciation for the polyptichon in the church of Santa Maria a La Vid near Burgos ; Girolamo Imparato , Wenzel Cobergher, Giovan Battista Cavagna and Domingo Treceño also worked on the altar .

Around the same time, one of Santafede's masterpieces was created: the Madonna and Child between Saints Benedict, Maurus and Placidus (1593) in the Cappella Medici di Gragnano by Santi Severino e Sossio in Naples, “a picture of fluidly painted classicism and brilliance of shining, light-filled truthfulness ”, which also clearly reveals Raphael's influence, but in an independent interpretation.

Coronation of Mary on the ceiling of Santa Maria la Nova (Naples)

One of the masterpieces is the Coronation of Mary , which the painter created in 1602 for the coffered ceiling in Santa Maria la Nova in Naples, and which, according to De Dominici, "was considered by art experts to be a work by the famous Titian ". The Pietà, completed in 1603 in the chapel of Monte di Pietà in Naples, was celebrated a few years later by Daniele Geofilo Piccigallo in his Rime (Venice 1609).

In addition to numerous commissions for altarpieces and Madonnas in the churches of Naples and the surrounding area, Fabrizio Santafede also worked for private art collectors, also beyond the Naples area. According to a letter from 1607, he also did "some things" for Vincenzo I. Gonzaga , and Even Cosimo II de 'Medici wanted a Galatea from Santafede, as some letters that the Florentine agent Cosimo del Sera wrote to the Grand Ducal secretary Andrea Cioli in 1618 reveal.

Santafede was also highly praised for his portraits , including a. in a manuscript by Giovan Battista del Tufo. In contemporary letters portraits of Giulio Cesare Capaccio and Vincenzo Schiavetto (around 1597), as well as of Marcantonio Doria and Tommaso Stigliani (around 1615) are mentioned. Little of this part of his work has been preserved or identified, including a. the portrait of Juan de Zúñiga and his wife Maria de Zúñiga in the collection of the Duke of Alba in Madrid , dated 1596, or the nobles in armor in the Pio Monte della Misericordia and in the sacristy of S. Domenico Maggiore in Naples.

Bath of the baby Jesus , Quadreria dei Girolamini , Naples

He was also an important collector of medals , coins , “ Greek and Latinstatues and other marble antiquities, was considered musically educated, cultured and well-read, and was in contact with leading writers and antiquarians of his time. De Dominici described him as an "insigne antiquario" (educated antiquarian), he was also in possession of "three original drawings by the divine Raphael of Urbino and four by Michelagnolo Buonarruoti ".

Santafede's leading role in Naples was also expressed in the fact that he was called in on various occasions as an artistic advisor, e. B. for the collection of Matteo di Capua. Santafede even traveled to Rome in 1622 for the deputies of the Cappella del Tesoro di San Gennaro (in the cathedral of Naples ) to win Cavalier d'Arpino to decorate the chapel. After all inquiries to d'Arpino and Guido Reni (between 1616 and 1622) had failed, the deputation of the Cappella initially awarded the commission to Santafede himself, together with Battistello Caracciolo and Giovan Francesco Gessi . However, those responsible did not like the first frescoes by the three, and after Santafede's death in April 1626, his heirs had to repay the advance payment of 500 ducats for a painting that had not yet been started, two others that had begun but not yet finished , were returned to his son Pietro.

Santafede had several students, the most important being the aforementioned Massimo Stanzione (inter alia De Dominici, 1742–1745, 2008); also Marco Mele and Giovanni de Gregorio , known as " il Pietrafesa ", with whom he often worked, especially on assignments in the province. The Immaculata with Saints Francesco d'Assisi and Clara in the church of Santa Chiara by Vibo Valentia is considered a work of his workshop .

Fabrizio Santafede probably died shortly after February 1626 when he still received payment for a statue and the grave of Giovan Battista Marino , which, according to Conte (2012, pp. 214-217, 416), he should no longer have carried out .

Works (selection)

Saint Peter awakens Tabitha , 306 × 205 cm, Pio Monte della Misericordia , Naples

Fabrizio Santafede's work is stylistically in a range between late Mannerism and early Baroque, but belonged to a generation of painters who renewed art and, according to Celano, included Scipione Pulzone , Girolamo Imparato , Belisario Corenzio , Giuseppe Cesari , called " Cavalier d'Arpino ", and Ippolito Borghese belonged. Celano, like Santafede, describes the latter as a “wonderful imitator of Raphael”.

In his penchant for naturalness, as well as in the treatment of light and shadow, Santafede represents a certain parallel phenomenon to the naturalistic art of Caravaggio and his successors, but in a more moderate form and stylistically somewhat more old-fashioned. Celano placed him between the mannerists and the naturalism of Caravaggio. The inspiration from the 'classical' art of Raphael and Andrea de Sarto has already been mentioned and is particularly evident in his Madonna portraits .
Santafede was a very hardworking artist and left numerous works, mainly in the churches and chapels of Naples and other places in Campania and southern Italy.

The following is a selection of works, dates and locations are from De Mieri ( Dizionario degl'Italiani , 2017):

  • Epifanias , in S. Biagio ad Aversa , 1575 (replica of a painting by Marco Pino)
  • Virgin with Child and six saints , main altar of Matera Cathedral (approx. 1577–80)
  • Rosary , in Santa Sofia, Giugliano (commissioned: 1579)
  • Madonna del Suffragio, in Sant'Antonio, Manduria (ca.1580),
  • Virgin and Child and Saints Bartolomew and John the Evangelist , in S. Pietro Martire, Naples (c. 1581)
  • Rosary , in S. Domenico a Mola di Bari ,
  • Baptism of Christ , in Santa Maria dei Sette Dolori, Naples (with portrait of the unknown donor)
  • Madonna di Loreto and Rosary , in the Chiesa dello Spirito Santo a Sant'Antimo, Naples,
  • Madonna with child and four saints of the Congrega di S. Sofia, today in: Museo diocesano, Naples,
  • Madonna and Child and Saints Francis of Assisi and Benedict , in S. Maria di Montecalvario, Naples,
  • Rosary , in S. Giovanni in Palco, Mercato Sanseverino (1586),
  • Madonna and Child and Saints Stefan and Girolamo , in San Francesco a Caiazzo (1588),
  • Immaculata , in S. Antonio a Sarno (1589),
  • Epifanias , in S. Maria della Misericordia by Bellante ,
  • Birth of Jesus in the Congrega dei Neri in Santa Restituta, in the Cathedral of Naples
  • Annunciation of the Polyptichon by S. Maria a La Vid in Burgos (1592)
  • Madonna and Child between Saints Benedict, Maurus and Placidus , in the Cappella Medici di Gragnano by Santi Severino e Sossio in Naples (1593),
  • Madonna delle Grazie with Saint Girolamo and Blessed Pietro da Pisa , in S. Maria della Grazie a Caponapoli , Naples (1595),
Nobleman in armor , Pio Monte della Misericordia , Naples
  • Portrait of Juan de Zúñiga and his wife Maria de Zuñiga , Collection of the Duke of Alba, Madrid , 1596
  • Nobleman in armor , in the Pio Monte della Misericordia , Naples
  • Nobleman in armor , sacristy by S. Domenico Maggiore , Naples
  • Madonna di Loreto , in S. Francesco a Quisisana in Castellammare di Stabia (1595–98)
  • Rosary Madonna , by Lucito (Campobasso), 1601–02
  • Coronation of Mary , on the ceiling by S. Maria la Nova , Naples (1602)
  • Immaculata and saints , in Torre del Greco (1601-02),
  • Pietà , in the chapel of Monte di Pietà , Naples (1601–03),
  • Glory of the Virgin Mary with saints , in Lucera Cathedral ,
  • The Visitation , in the Chiesa della Visitazione of Aieta (Cosenza), 1603 to 1605
  • Pietà , Madonna with baby Jesus and cross and various panels with saints (approx. 1604), Museo diocesano von Gaeta ,
  • Stigmatization of Saint Francis of Assisi , in Galatone
  • Madonna with Child and Saints , in S. Chiara in Trani (c. 1605),
  • Maria Immacolata with Trinity, saints and prophets , in Aversa (approx. 1598–1606)
  • Madonna and Child and Saints Benedict and Thomas Aquinas , in the Cappella d'Avalos by S. Maria di Monteoliveto , Naples (1606-07),
  • Annunciation to the Shepherds , in the Cappellone Ruffo der Girolamini , Naples (ca.1606),
  • Rosary Madonna , in S. Maria Egiziaca all'Olmo , Naples (1606-07),
  • Madonna del Soccorso , in the Chiesa dello Spirito Santo, Naples (1606-07),
  • The Whitsun miracle , originally for the main altar of Spirito Santo, Naples, now in the sacristy (1609-10),
  • Resurrection of Christ , in the Monte di Pietà in Naples (started by Imperato and completed by Fabrizio Santafede), 1607–1608
  • Birth of Jesus , Museo di Capodimonte , Naples (probably originally in the Cappella Orsini of the Chiesa del Gesù e Maria; 1612-14),
  • Pietà dei Camaldoli ,
  • Christ and Mary Magdalene (1612) and Resurrection of the widow Dorca (1614), in the Pio Monte della Misericordia , Naples
  • Madonna with Child and Saints , on the main altar of Santa Patrizia, Naples (1617–19),
  • Trinity with the Virgin Mary and saints , in the Cappella Salvo of the Chiesa di Monteverginella, Naples (1618-19)
  • Madonna and Child, Saint Anthony of Padua and the Boy John , Chiesa dell'Annunziata of Levanto (La Spezia),
St. Stephen the Martyr, Szépművészeti Múzeum, Budapest
  • St. Stephen the Martyr , Szépművészeti Múzeum in Budapest (1600–1620),
  • Saint Luke , Museo Mimara in Zagabria (1600–1620),
  • Mystical Wedding of St. Catherine , private collection in New York (1600–1620),
  • The Virgin Mary with Saint Diego d'Alcalà , collection of the Marquis Amurrio in Madrid (1600–1620),
  • Sacra conversazione , in the Harrach Gallery in Rohrau Castle (1600–1620),
  • Sacra conversazione , in the Museum of Aquila (1600–1620),
  • The sons of Zebedee before Christ and the bath of the baby Jesus , in the Quadreria dei Girolamini (1600–1620)

literature

(sorted chronologically)

  • Giulio Cesare Capaccio : Il forastiero , Naples, 1634, p. 859, online , viewed December 17, 2015 (Italian)
  • Bernardo De Dominici: "Vita di Fabrizio Santafede Pittore, ed insigne Antiquario", in: Vite de 'pittori, scultori e architetti napolitani, vol. I & II , Ricciardi, 1745, pp. 223–236, online as an ebook , last accessed on November 16, 2018
  • "Notes del bello dell'antico e del curioso della città di Napoli raccolte dal canonico Carlo Celano", volume I, (Ed .: Giovan Battista Chiarini), Stamperia Floriana, 1856, online at books.google.it , p. 154, last accessed on November 15, 2018
  • Niccolò Morelli di Gregorio & Pasquale Panvini: Biografia degli uomini illustri del regno di Napoli, ornata de loro rispettivi ritratti , Naples, 1820, online , viewed December 17, 2015 (Italian)
  • Giovanni Battista Gennaro Grossi: Le belle arti , Tipografia del giornale enciclopedico, Naples 1820, pp. 91–92, online , viewed on December 17, 2015 (Italian)
  • Adolfo Venturi: Storia dell'arte italiana. La pittura del Cinquecento, vol. IX, parte quinta , Milan, 1932, pp. 746-748. SBN = IT \ ICCU \ RMS \ 0186380 (Italian)
  • Giovanni Previtali: La pittura del Cinquecento a Napoli e nel vicereame , Einaudi, Turin 1978, p. 120.SBN = IT \ ICCU \ RAV \ 0079351 (Italian)
  • Concetta Restaino: “La giovinezza di Fabrizio Santafede”, in: Prospettiva , 1989–1990, pp. 57–60, Scritti in ricordo di Giovanni Previtali , vol. II, pp. 95-96. (Italian)
  • Pierluigi Leone De Castris: Pittura del Cinquecento a Napoli (1573-1606), volume 3 ( L'ultima maniera ) , Electa, Naples, 1991/2001, p. = 262. ISBN = 88-510-0017-4 (SBN = IT \ ICCU \ NAP \ 0014086) (Italian)
  • Francesco Abbate: Storia dell'arte nell'Italia meridionale, volume 3 ( Il Cinquecento ) , Rome, Donzelli, 2001, p. 233. ISBN = 88-7989-653-9 (Italian)
  • Stefano De Mieri: "Santafede, Fabrizio", in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online at Treccani , last accessed on November 15, 2018 (Italian; main source for this article)

Web links

Commons : Fabrizio Santafede  - Collection of images, videos and audio files

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 Stefano De Mieri: "Santafede, Fabrizio", in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed November 15, 2018
  2. a b c d e f Bernardo De Dominici: "Vita di Fabrizio Santafede Pittore, ed insigne Antiquario", in: Vite de 'pittori, scultori e architetti napolitani, vol. I & II , Ricciardi, 1745, pp. 223–236, here: pp. 235–236 online as an ebook , last accessed on November 16, 2018
  3. a b c d Bernardo De Dominici: "Vita di Fabrizio Santafede Pittore, ed insigne Antiquario", in: Vite de 'pittori, scultori e architetti napolitani, vol. I & II , Ricciardi, 1745, pp. 223–236, here: pp. 223–224 online as an ebook , last accessed on November 16, 2018
  4. according to Salazar (1904), here after: Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  5. according to Leone de Castris (1996), here after: Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  6. a b c d e f Notes del bello dell'antico e del curioso della città di Napoli raccolte dal canonico Carlo Celano , volume I, (Ed .: Giovan Battista Chiarini), Stamperia Floriana, 1856, online at books.google.it , P. 154, last accessed on November 15, 2018
  7. ^ Previtali, 1978, p. 110; De Mieri, 2007-2008; Bosch Ballbona, 2009. Here after: Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  8. " ... un quadro limpidamente classico e splendente, di una verità lucida luminosa " (Previtali, 1978, p 121); here after: Stefano De Mieri: "Santafede, Fabrizio", in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  9. De Dominici, 1742-1745, 2003, p. 877; here after: Stefano De Mieri: "Santafede, Fabrizio", in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  10. Parronchi, 1980; here after Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  11. Morisani, 1958, p. 64; here after Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  12. Leone de Castris, 2005, p. 166; here after Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  13. De Dominici, 1742-1745, 2003, pp. 872-874; here after Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  14. Strazzullo, 1978, p. 16 f. and pp. 111-113; here after Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  15. also after Conte, 2012, p. 165; here after Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018
  16. Leone de Castris, 1991, p. 335; here after Stefano De Mieri: “Santafede, Fabrizio”, in: Dizionario Biografico degli Italiani, Volume 90 , 2017, online on Treccani , last accessed on November 15, 2018