The considerable scholarly attention received in recent years by the 17th century Ferrarese school has helped define more and more accurately the outline and the main protagonists of this artistic context. To painters of the likes of Carlo Bononi, Costanzo Catanio, Giovanni Vambaigens, Giuseppe Avanzi – whose work has been recently reassessed – one can now add Giuseppe Caletti: to him this paper is devoted. New attributions to Caletti (also dubbed “il Cremonese” by local sources for his likely Lombardic origins) are here proposed, with specific regard to three unpublished works from private collections, which the paper then seeks to set in their correct place in the painter’s production and in his still rather obscure biography. On the basis of newly discovered documents, in fact, new light is shed on Caletti’s frequent movements in Northern Italy (between Cremona, Bologna, Ferrara, Brescia and probably Venice as well) and on his contacts with the pictorial models which one can trace in his oeuvre (e.g. Lionello Spada, Guercino and Romanino).
L'articolo propone alcune aggiunte documentarie utili ad arricchire le conoscenze sul contesto artistico ferrarese del XVII secolo e propone alcuni dipinti inediti da annettere al catalogo di Giuseppe Caletti, pittore nato a Cremona ma ben presto rintracciabile in altre città del Nord fra cui Ferrara dove si distinse per una fervida produzione soprattutto per il collezionismo privato e per la sua attività di falsario attestata dalle fonti locali.
"Giuseppe Caletti da Cremona, “un pittore moderno in una bottega antiquaria”"
Cecilia Vicentini
2016-01-01
Abstract
The considerable scholarly attention received in recent years by the 17th century Ferrarese school has helped define more and more accurately the outline and the main protagonists of this artistic context. To painters of the likes of Carlo Bononi, Costanzo Catanio, Giovanni Vambaigens, Giuseppe Avanzi – whose work has been recently reassessed – one can now add Giuseppe Caletti: to him this paper is devoted. New attributions to Caletti (also dubbed “il Cremonese” by local sources for his likely Lombardic origins) are here proposed, with specific regard to three unpublished works from private collections, which the paper then seeks to set in their correct place in the painter’s production and in his still rather obscure biography. On the basis of newly discovered documents, in fact, new light is shed on Caletti’s frequent movements in Northern Italy (between Cremona, Bologna, Ferrara, Brescia and probably Venice as well) and on his contacts with the pictorial models which one can trace in his oeuvre (e.g. Lionello Spada, Guercino and Romanino).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
