An Unpublished Letter from the Spanish Noble Pedro de Tapia to His Painter Friend Hector Crucer ; Un'inedita lettera del nobile spagnolo Pedro de Tapia all’amico pittore Hector Crucer

In the paper a long and unpublished letter, traced in the State Archive of Naples, is published. The letter was sent, in March 1600, from don Pedro de Tapia y Ribera to Naples to the Flemish painter Hector Crucer from Antwerp. In the letter precise iconographic and technical indications were given to the painter to execute three canvases with a Franciscan subject. In the text it’s hypothesised that the triptych was intended for the church of the convent of the Discalced Franciscans of Loja (Granada), founded by don Pedro de Tapia and his wife, doña Clara del Rosal Alarcón, a native of the Anda... Mehr ...

Verfasser: Cleopazzo, Nicola
Dokumenttyp: Artikel
Erscheinungsdatum: 2019
Verlag/Hrsg.: Ediciones Universidad de Valladolid
Schlagwörter: Hector Crucer / Pedro de Tapia / Taddeo Carlone / Nicolas van Aelst / Loja (Granada) / scultura genovese / trittico / pittura fiammingo-napoletana / Genoese sculpture / triptych / Flemish-Neapolitan painting
Sprache: Spanish
Permalink: https://search.fid-benelux.de/Record/base-27482782
Datenquelle: BASE; Originalkatalog
Powered By: BASE
Link(s) : https://revistas.uva.es/index.php/bsaaarte/article/view/3561

In the paper a long and unpublished letter, traced in the State Archive of Naples, is published. The letter was sent, in March 1600, from don Pedro de Tapia y Ribera to Naples to the Flemish painter Hector Crucer from Antwerp. In the letter precise iconographic and technical indications were given to the painter to execute three canvases with a Franciscan subject. In the text it’s hypothesised that the triptych was intended for the church of the convent of the Discalced Franciscans of Loja (Granada), founded by don Pedro de Tapia and his wife, doña Clara del Rosal Alarcón, a native of the Andalusian city. Of the Franciscan complex, suppressed in 1835 and demolished in 1951, only the praying statues of the two founders survive. As it’s supposed here, they originally looked at the Crucer’s triptych from two niches in the presbytery of the church. The statues, now housed in the Museo de la Alcazaba of Loja, are here given back to the Genoese marble sculpture of the early seventeenth century dominated by Taddeo Carlone’s workshop. ; Nel contributo viene pubblicata una lunga e inedita lettera, rintracciata nell’Archivio di Stato di Napoli, che nel marzo 1600 don Pedro de Tapia y Ribera spediva a Napoli al pittore fiammingo Hector Crucer di Anversa. Nella lettera erano fornite al pittore precise indicazioni iconografiche e tecniche per l’esecuzione di tre tele di soggetto francescano. L’ipotesi avanzata nello scritto è che il trittico fosse destinato alla chiesa del convento dei francescani scalzi di Loja (Granada), fondato da don Pedro de Tapia e da sua moglie, doña Clara del Rosal Alarcón, nativa della città andalusa. Del complesso francescano, soppresso nel 1835 e abbattuto nel 1951, sopravvivono solo le statue oranti dei due fondatori, che in origine, come in questa sede viene supposto, da due nicchie del presbiterio della chiesa guardavano il trittico del Crucer. Le statue, oggi custodite nel Museo de la Alcazaba di Loja, sono qui ricondotte all’ambito della scultura marmorea genovese del primo Seicento dominata ...