NDA@SZTAKI

Vincenzo Dandini Szent Zoerard-András és Borromeo Szent Károly-oltárképe az arezzói Santa Maria in Gradi-templomban

Ilkó, Krisztina

Akadémiai Kiadó, co-published with Springer Science+Business Media B.V., Formerly Kluwer Academic Publishers B.V.

2013

N Visual arts (General) For photography, see TR / vizuális művészet általában

NX4 Art history and criticism / művészettörténet, műkritika

Abstract
This study introduces ways to unfold the St. Zoerard-Andrew and St. Charles Borromeo Altapiece of Vincenzo Dandini (1607–1675), the gifted pupil of the famous baroque painter, Pietro da Cortona. Created in 1657, it is still housed today in its original position in the Church of Santa Maria in Gradi at Arezzo, in Tuscany. This painting has its own importance in Dandini's oeuvre, not only because it's his first dated and signed work, but also because of the rarity of the imagery of Zoerard-Andrew in Italy.
We can separate two different levels of the image: the Hungarian hermit could be seen as the subject of the cardinal's vision and his role model too. Charles Borromeo was the leading figure of the Council of Trent, and the cardinal archbishop of the Archidiocese of Milan, but had similar fasting and extreme starving practices like Zoerard- Andrew. So Zoerard-Andrew's presence is more interesting in a Camaldolese altarpiece — however they were both Benedictines — than the well-known italian reformator and makes Dandini's work an iconographical challenge.
The altarpiece depicts a scene from the life of St. Zoerard-Andrew derived from the Vita Sancotum Zoerardi et Benedicti (c. 1064) by Bishop Maurus of Pécs, when the hermit in the state of swoon lies in the arms of an angel (iuvenis visionis angelice). St. Zoerard-Andrew, first canonised saint of the Hungarian Kingdom in 1083, had an extremely stiff fasting practice, ate only one nut day-to-day in the forty days of the Lenten period. His bodily self-lacerations were the most terrific ways to earn God, he made for himself a wooden crown with stones hanging on four sides and set on an oak-tree trunk surrounded by sharpened canes. Like on Jan Sadeler's etching, he showned with his clever arrangements designed to prevent sleep as his tipical attributes in this period. This essay contributes to find out appointments of Zoerard-Andrew's and St. Charles Borromeo's way of living with the habits of the Camaldolese monks. I mean they were perfect role models for these hermits of the Santa Maria in Gradi. Finally, I demonstrate in my article how could use up their cult in the order's ideology during the Counter- Reformation and how these elements are interwoven in the iconography of the church.

magyar

Article

PeerReviewed

info:eu-repo/semantics/article

text

http://real.mtak.hu/63826/1/muvert.62.2013.1.4.pdf

Ilkó, Krisztina (2013) Vincenzo Dandini Szent Zoerard-András és Borromeo Szent Károly-oltárképe az arezzói Santa Maria in Gradi-templomban. Művészettörténeti Értesítő, 62 (1). pp. 47-53. ISSN 0027-5247

http://real.mtak.hu/63826/

https://doi.org/10.1556/MuvErt.62.2013.1.4