Antoniazzo Romano e il Trittico del Sacro Volto al Prado : Fra icona e ritratto nella Roma del secondo Quattrocento
| Title in English | Antoniazzo Romano and the Triptych of the Holy Face at the Prado : Between Icon and Portrait in the Rome of the Second Half of the Fifteenth Century |
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| Authors | |
| Year of publication | 2021 |
| Type | Article in Proceedings |
| Conference | Percorsi nella Storia dell'arte : Giornate di studi in onore di Maria Luisa Frongia |
| MU Faculty or unit | |
| Citation | |
| Web | http://dx.doi.org/10.13125/medea-5115 |
| Keywords | Antoniazzo Romano; Sacro Volto; Prado; Quattrocento painting; icons; portrait of Christ; Renaissance; Medieval art; Lateran icon; Lentulus letter; Hans Burgkmair |
| Attached files | |
| Description | The Triptych of the Holy Face painted by the Roman painter Antonio Aquili, known as Antoniazzo Romano, on display at the Prado Museum in Madrid, is a complex work, which can be considered a "new icon", rich in references to tradition and at the same time an expression of the reception of the Renaissance novelties represented by the art of portraiture. Antoniazzo's work reveals itself as a link in a long chain of works belonging to the genre of the portrait-icon, widespread above all beyond the Alps, of which the Face of Christ, attributed to Jan Van Eyck and known today through three different workshop copies, is one of the most famous examples, which question the widely debated problems of the vision of God and his corporeity. Far from being an isolated work in its archaism against the backdrop of Renaissance Rome, Antoniazzo's painting is not only a copy of the famous Roman icon of the Lateran, but it is also a painting that reworks the venerated and ancient model of the icon believed to be acheropite, adding several layers of meaning to it. |
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