AFAT 36

The study reconstructs the circumstances of the Sacristy’s decorations of Sant’Antonio church in Trieste, commissioned to the painter Giovanni Kandler in 1835, named Nane (Trieste 1803-1865), brother of Pietro Kandler. The historian painter, formed at the Venice Academy, works in one of the most important sites of the city, in the first half of the nineteenth century, realizing a series of sacred lunettes. An occasion to specify, even through archive research, the still unknown personality of the artist who in 1833 had painted a lost altarpiece depicting Il martirio di San Sergio, in the church of San Giusto, of which some preparatory drawings were discovered.

The article presents an unknown portrait of the sculptor Antonio Dal Zotto (1841-1918), by the American painter Charles Frederic Ulrich (1858-1908). The painting shows two bozzettos for the monument to Carlo Goldoni erected in Venice in 1883: they present the same variants of the first plaster model, dating back to 1876, and of the subsequent editions of the work in bronzetto format. A letter sent by the sculptor to Domenico Trentacoste (1859-1933) is also published.

Medieval art contracts are an extremely valuable source for the Art historian and the historian per se, as they highlight and stress the exceedingly complex and branching network of relations that innervated medieval society. Given their rarity, it is all the more necessary to publish these documents when new ones emerge during archival research. Here the author presents an art contract between the Confraternity of the altar of Santa Caterina of the Duomo in Udine and two artists for the painting and gilding of an ancona. The document is dated January 9 1368.

This paper focuses on some Eighteenth century profane silver works made for Venetian and Paduan secular patrons, the Ottolini and the Degli Oddi families, that were hitherto overlooked.

The article is a deep understanding about a production not well known of Giulio Monteverde: portraits. The result is that a notable sculptor of the period XIX-XXth Century in Italy was able not only to made historical or allegorical subjects, but also a more private and informal portraits.

The study outlines the features of a Carrara marble sculpture of Christ deposed, present already inside the oratory at Villa Altan-Cappello in Pramaggiore (Venice), recently found at a private residence. The culturalhistorical context and the iconography of the work, dated back to 18th century, are analysed regarding pieces of evidence which are stylistically and chronologically close to the work itself. Comparison with the rest of Giuseppe Torretti’s production, with particular reference to Christ as a subject, allows to ascribe this work to the Venetian master, possibly dated to the beginning of the third decade of 1700.

The article publishes the historical Filippi photographs of the paintings by Giambattista Mengardi, which used to be in Villa Corner in Sant’Artemio di Villorba. It includes the publication of Barberini pieces of furniture preserved in Newport, Rhode Island, and in the Venetian church of San Salvador, as well as a Rezzonico sedan chair that is now kept in a Roman palace.

Hermann Bahr, in 1916, argued that the history of painting is the history of seeing. The technique changes only when you change the way you see. The representation is modified to keep up with the changes in the way of seeing, and the way we see it changes with the change in the relationship between man and world. The psychologist Richard Nisbett, in 2003, supported the same thesis. According to Nisbett, the focus attention of the “Western view” is on the most obvious objects, while the “Eastern view” captures the totality of the image and the general context. Nevertheless, the discovery of the Western perspective by Japanese artists shows that they did not change their “vision of the world”. The conceptualization of the world and the representation of space in the Ukiyo-e prints are not connected: the representational techniques change over time and the artists adapt, time by time, techniques of representation to the meanings that the artists want to communicate. These Japanese prints demonstrate that there is no rigid cognitive process – western or Asian thinking – but they show, step by step, the progress of the artistic research to discover new relationships between objects and space.

The author examines the pictorial milieu in which the education of the painter Augusto Tominz is accomplished by publishing his first works of historical subject, including the unpublished Farewell by Ettore Fieramosca to Ginevra di Monreale. The catalog of paintings by this artist is also published here for the first time.

Alessandro Dalla Via, a Veronese engraver, was an artist who actively participated in the Venetian cultural revival in the late 17th ct. The purpose of this study is to reconstruct his oeuvre, starting with the heterogenity of his works in order to later define the role he had on the artistic scene of the time.

Recent restoration work in St. Mark’s parish church in Tomba di Mereto has made it possible to see Giulio Urbani’s (post 1570) frescos much better. These paintings are in the vault of the old church. The restoration also allowed us to attribute the altar-piece with St. Antony from Padua to Giuseppe Buzzi, a prolific Friulan painter from San Daniele, whose signature has been found in the picture whit the date (1738). The altar-piece was attributed until then to an anonymous local painter. Great visibility has also been given to the painting with the Sacred Family and St Anne (circa 1820) whit the signature at the bottom of the picture and initials on its back by Leopoldo Zuccolo, a painter from Udine, a typical exponent of the author’s poetic language. He was an important protagonist of Friulan culture in the 18th century.

The author discusses the reasons why late Carpaccio has often been considered unable to gain the same success reserved to his contemporaries as Giorgione, Sebastiano del Piombo or the young Titian at the beginning of XVI Century, concluding that this was mainly due to Carpaccio’s traditional patrons. They clearly preferred works of art connected to late XV Century Venetian pictorial tradition, probably also because of the difficult and dangerous situation of the Republic from the economic and political point of view, but this doesn’t mean that he wasn’t sincerely appreciated, as can testify even his last works.

AFAT (Arte in Friuli Arte a Trieste) è una rivista scientifica annuale fondata nel 1975 presso l'Istituto di Storia dell’Arte dell’Università di Trieste, ora Dipartimento di Studi Umanistici. Nel corso degli anni, la rivista ha prestato, e presta, grande attenzione ai temi emergenti del dibattito storico artistico medievale, moderno e contemporaneo, pubblicando saggi che esplorano numerosi territori tematici. AFAT si propone di rendere disponibili alla comunità degli studiosi e a un più vasto pubblico interventi inediti (la cui redazione scritta è sottoposta a peer review) su temi inerenti l’arte veneziana e non solo, riuniti sia in volume a stampa (EUT Edizioni Università di Trieste), sia in formato elettronico e liberamente accessibili online.

Palazzo Priuli is one of Padova’s most interesting late Renaissance private buildings. Unpublished documents show that the building was erected in 1604, but it still remains unclear which parts of the façade can be ascribed to Vincenzo Scamozzi. When the palace became property of the Pesaro family in the second half of the 17th century, the northern elevations were refurbished. A variety of Baroque elements are typical for Baldassare Longhena’s style.