Antonio Bonvicino e il crocifisso ligneo del Duomo di Muggia

Castri, Serenella
2014
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Abstract
The discovery of the ever-stimulating antiques market of a small-format Crucifix, with unquestionable stylistic features of Antonio Bonvicino, along with its restoration, are food for thought in reconsidering both the catalogue and the documents on this Venetian sculptor (late 1300s - early 1400s), specialized in Crucifixes of all dimensions. His output unfolded in small, though significant, stages beginning with the only fixed point in his career, the Crucifix executed for the parish church of Casteldimezzo (Pesaro) and painted by his "fellow" Venetian artist Jacobello del Fiore. The work is dated to around 1406 or 1409. Loyal to the formal tradition of Venetian 14th century art, Bonvicino demonstrates nonetheless he is able to enliven it with naturalism and elegance in view of Venice's intemational gothic style. From the will of the sister of «Bonvixin» (April 1388), we could assume that in his workshop were also present his brother Victor and paternal aunt Colota, who seems to be a «paintress» and perhaps the artist of the polychrome colouring of (at least some) Crucifixes by Bonvicino. A new and important monumental Crucifix by the great sculptor is also rediscovered and presented: it necessitates restoration and enhancement, and is today (though not originally) found at the centre of the apse in the duomo of Muggia.
Journal
Subjects
Publisher
EUT Edizioni Università di Trieste
Source
Serenella Castri, “Antonio Bonvicino e il crocifisso ligneo del Duomo di Muggia” in: “Antichità Altoadriatiche LXXX (2014). Muggia e il suo Duomo a 750 anni dalla fondazione”, EUT Edizioni Università di Trieste, Trieste, 2014, pp. 183-197
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it