Between 1695 and 1703 the Lombard painter Stefano Maria Legnani, called Legnanino, painted a vast frescoed cycle for Palazzo Savoia di Carignano in Turin, seat of the cadet branch of the dynasty represented at the time by Prince Emanuele Filiberto il Muto (1628-1709). The latter, a complex character with a vast culture, promotes a mythological cycle that expresses his ideological and political choices, at the head of the “Spanish” party now in transformation as an imperial party. This visualization, rendered with erudite subtleties and a wealth of cross-references, is here for the first time reconstructed in its entirety: a lucid political manifesto represented in the forms of a mature Bolognese-Roman classicism.
Between Tesauro and Muratori: The Iconographic Choices of the Carignano’s Palace Cycle by Legnanino
Spiriti A.
2021-01-01
Abstract
Between 1695 and 1703 the Lombard painter Stefano Maria Legnani, called Legnanino, painted a vast frescoed cycle for Palazzo Savoia di Carignano in Turin, seat of the cadet branch of the dynasty represented at the time by Prince Emanuele Filiberto il Muto (1628-1709). The latter, a complex character with a vast culture, promotes a mythological cycle that expresses his ideological and political choices, at the head of the “Spanish” party now in transformation as an imperial party. This visualization, rendered with erudite subtleties and a wealth of cross-references, is here for the first time reconstructed in its entirety: a lucid political manifesto represented in the forms of a mature Bolognese-Roman classicism.
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
