Book contents
- Frontmatter
- Dedication
- Contents
- Illustrations
- Abbreviations
- Acknowledgements
- Introduction: Cardinals and their Images
- Part I Individuality and Identity: Florence and Rome
- Part II Divided Loyalties: Venice and Rome
- Part III Collecting and Display: Portraits and Worldly Goods
- Part IV Post-Tridentine Piety: The Devout Cardinal
- Conclusion: Cardinal Portraits beyond Italy
- Index
- Plate Section
11 - Two Cardinal Portraits by Scipione Pulzone in the Harvard Art Museums and their Related Versions
Published online by Cambridge University Press: 19 October 2021
- Frontmatter
- Dedication
- Contents
- Illustrations
- Abbreviations
- Acknowledgements
- Introduction: Cardinals and their Images
- Part I Individuality and Identity: Florence and Rome
- Part II Divided Loyalties: Venice and Rome
- Part III Collecting and Display: Portraits and Worldly Goods
- Part IV Post-Tridentine Piety: The Devout Cardinal
- Conclusion: Cardinal Portraits beyond Italy
- Index
- Plate Section
Summary
Abstract
Since the sixteenth century, Scipione Pulzone's portraiture has been admired for its psychological intensity, exquisite attention to detail, and illusionistic settings. Throughout his career, Scipione painted at least six cardinals. These paintings exist in multiple versions, yet the issue of how Scipione went about creating them has remained little examined. This study focuses on the portraits of Cardinals Giovanni Ricci and Michele Bonelli (both housed in the Harvard Art Museums), and their related versions to contend with Scipione's artistic practice. It considers the function of these and other multiple cardinal portraits by Scipione with regard to their collection and display. It also draws attention to the central role of portraits of cardinals and Scipione's lasting contribution to this genre.
Keywords: Scipione Pulzone; cardinals; portraits; copies; Counter-Reformation
Scipione Pulzone da Gaeta was hailed by his contemporaries as the undisputed leading portraitist in Rome. In his Riposo of 1584, Raffaello Borghini wrote that Scipione was ‘excellent at making portraits from life, so much so they that they appear alive’. Giovanni Baglione also noted that Scipione was particularly gifted in painting portraits, which he described as ‘so lifelike and [painted] with such diligence, that all the hairs could be counted, and especially the draperies […] seemed truer than their originals’. Similarly, Giulio Mancini in his Considerazioni sullapittura (1617–1621) claimed that Scipione's portraits were so perfect that he did not leave out even the smallest aspect of nature. For the discerning Cardinal Antoine Perrenot de Granvelle, one of the artist's sitters, Scipione surpassed all other living portraitists. According to these and other critics, Scipione painted many illustrious sitters in Rome, including members of the nobility, popes, secular rulers, and ‘all of the Cardinal Princes of the Roman Court’. Among these many portraits, a great number represent cardinals, and these exist in multiple versions. Borghini notes that Scipione's portraits are too numerous to list, but he does single out those of cardinals Farnese, Granvelle, and Medici. Scipione's reputation extended beyond the borders of Rome to the courts of Naples and Florence, where he was invited to work, but also to Venice, Sicily, and Spain, where he sent his paintings.
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- Information
- Portrait Cultures of the Early Modern Cardinal , pp. 285 - 318Publisher: Amsterdam University PressPrint publication year: 2021