La produzione scultorea veronese nei decenni a cavallo tra XIV e XV secolo è dominata da autori dal carattere robusto e popolare, fra i quali spicca certamente Antonio da Mestre. Questo prolifico artista, documentato dal 1379 al 1418, non è giudicato in maniera lusinghiera dalla letteratura specializzata, che reputa le sue produzioni alquanto mediocri, ma nonostante ciò riuscì a imporsi specialmente fra le zone di Verona e Vicenza, lasciando una quantità sorprendente di opere: ancone, polittici, pulpiti, statue a tutto tondo e monumenti funebri per alcune importanti dinastie aristocratiche. L’articolo ripercorre la vicenda critica dello scultore lagunare e pone l’attenzione sulla sua attività nell’abbazia benedettina di San Pietro apostolo a Villanova presso San Bonifacio, in provincia di Verona, ma in diocesi di Vicenza. Antonio, con l’ausilio della sua bottega, lavorò a più riprese nel monastero durante il primo quarto del XV secolo su commissione della nobile famiglia Cavalli e dell’abate Guglielmo da Modena; qui lasciò un caposaldo del suo catalogo, la cosiddetta Ancona di san Pietro apostolo, che in questa sede viene doviziosamente analizzata. Qualche lustro dopo aver completato questa opera, Antonio tornò a Villanova per realizzare un dittico raffigurante l’Annunciazione che, seppur sia quasi completamente trascurato dalla critica, merita un’indubbia attenzione sia per l’elevato livello esecutivo, che lo qualifica forse come l’esito più alto della sua carriera, sia perché testimonia la svolta “tardogotica” compiuta dall’artista nell’ultimo periodo del suo percorso. A questa fase è ascrivibile anche un tondo con la Madonna col Bambino, nel duomo di Santa Maria Maggiore a San Bonifacio, del tutto inedito e presentato per la prima volta in questo articolo.

Between the XIV and XV centuries the sculptural production of the Verona area, has been dominated by artists of a vigorous character, among whom certainly stands out Antonio da Mestre. This prolific artist documented from 1379 to 1418, has not been judged kindly by specialized critics, who regard his production as rather mediocre. In spite of this he was able to assert himself particularly in the Verona and Vicenza areas, leaving a surprising quantity of works: Altar-pieces, pulpits, statues and funereal monuments for some important aristocratic dynasties. The article follows the ailical path of the Venetian sculptor and places our attention on his activity at the Bene- dectine abbey of San Pietro Apostolo at Villanova, near San Bonifacio in the province of Verona but in the Vicenza diocese. Antonio, aided by his workshop, worked intermittently in the monastery during the first part of the century, commissioned by the noble Caoam family and the abbot Gugliel- mo da Modena; here he left one of the most notable of his works, namely the so called "Ancona di San Pietro Apostolo", which we are going to analyze copiously. Around two decades after completing this work, Antonio return ned to Villanova to realize a diptych showing the aAnnunciation" which, though neglected by the critics, is worthy of attention; both for the high level of execution which qualifies it, perhaps, as the highest result of his career, and because it testifies the late Gothic trend followed by the artist in the last period of his course. This phase is also seen in a "round' uith the Madonna and Child in the Duomo of Santa Maria Maggiore in San Bonifacio, which has never been edited and has been presented in this article for the very first time.

Per la scultura tardogotica veneta. Due opere di Antonio da Mestre in diocesi vicentina

PASSUELLO, ANGELO
2017-01-01

Abstract

Between the XIV and XV centuries the sculptural production of the Verona area, has been dominated by artists of a vigorous character, among whom certainly stands out Antonio da Mestre. This prolific artist documented from 1379 to 1418, has not been judged kindly by specialized critics, who regard his production as rather mediocre. In spite of this he was able to assert himself particularly in the Verona and Vicenza areas, leaving a surprising quantity of works: Altar-pieces, pulpits, statues and funereal monuments for some important aristocratic dynasties. The article follows the ailical path of the Venetian sculptor and places our attention on his activity at the Bene- dectine abbey of San Pietro Apostolo at Villanova, near San Bonifacio in the province of Verona but in the Vicenza diocese. Antonio, aided by his workshop, worked intermittently in the monastery during the first part of the century, commissioned by the noble Caoam family and the abbot Gugliel- mo da Modena; here he left one of the most notable of his works, namely the so called "Ancona di San Pietro Apostolo", which we are going to analyze copiously. Around two decades after completing this work, Antonio return ned to Villanova to realize a diptych showing the aAnnunciation" which, though neglected by the critics, is worthy of attention; both for the high level of execution which qualifies it, perhaps, as the highest result of his career, and because it testifies the late Gothic trend followed by the artist in the last period of his course. This phase is also seen in a "round' uith the Madonna and Child in the Duomo of Santa Maria Maggiore in San Bonifacio, which has never been edited and has been presented in this article for the very first time.
2017
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/3684517
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