The mariological cycle of Pietro Cavallini in Santa-Maria in Trastevere: Byzantine and Western influences in Roman monuments at the end of the 13th century
https://doi.org/10.28995/2658-4158-2023-3-38-49
Abstract
The Rome artistic profile formation at the end of the 13th century took place in the conditions of organic coexistence and intensive interpenetration of elements of ancient, early Christian, Romanesque, Gothic and Byzantine art. The powerful impetus for the figurative and conceptual city renewal was the lead of prominent Roman pontiffs, as well as bishops and cardinals who wished to write their name in history. The discussion about the role of the patron, which began in the circle of Aby Warburg at the beginning of the 20th century, half a century later led to the emergence of one of the most actual approaches to the study of the Proto-Renaissance art. Another important direction of scientific research of these monuments was the reflections about much broader culture processes, figuratively brought into opposition “East – West”. Within this approach, various elements of iconography, which originated in the “Eastern” or “Western” paradigm, are studied, and the factors that influenced master’s choice when referring to one or another artistic tradition are evaluated. The article examines the iconography of the mosaics of the Mariological cycle by Pietro Cavallini in Santa Maria in Trastevere in the focus of the mentioned aspects of the study.
About the Author
I. V. Golubeva
Russian Institute of Art History
Russian Federation
Russian Federation
Irina V. Golubeva
5, Isaakievskaya Sq., Saint Petersburg, 190000
References
1. Mâle, É. (2009), Religioznoe iskusstvo XIII veka vo Frantsii [Religious art of 13th century in France], Institut filosofii, teologii I istorii sv. Fomy, Moscow, Russia.
2. Aronberg Lavin, M. (2016), “ ‘Avant-Garde’ in the Late Medieval apse of Santa Maria in Trastevere”, Artibus et Historiae, no. 73, pp. 1–46.
3. Bilotta, M.A. (2008), “Pontificali duecenteschi secundum consuetudinem et usum romanae curiae. Contributi per la storia della produzione miniata ad uso del papato nel medioevo”, Arte Medievale, no. 1, pp. 55–80.
4. Gardner, J. (2013), The Roman crucible: the artistic patronage of the papacy: 1198–1304, Hirmer, München, Germany.
5. Gnudi, C. (1982), “Il ruolo dell’Italia nell Duecento”, in Belting, H. (ed.) Il Medio Oriente el’Occidente nell’arte del XIII secolo, Bologna, Italy, pp. 152–162.
6. Kessler, H.L. and Zacharias, J. (2000), Rome 1300: On the path of the pilgrim, Yale University Press, London, UK.
7. Maddalo, S. (2016), “I libri dei cardinali”, in Maddalo, S. (ed.), Il libro miniato a Roma nel duecento. Rifflessioni e proposte, Istituto storico italiano per Medioevo, Roma, Italy, pp. 503–520.
8. Margiotta, A. (1980), “Su alcuni particolari iconografici del ciclo cavalliniano di Santa Maria in Trastevere ed il problema dei rapporti con la cultura figurativa bizantina”, in Federico II e l’arte del Duecento italiano, Congedo Editore, Galatina, Italy, pp. 503–520.
9. Pace, V. (2011), “Storia dell’arte e della miniature (Secoli V–XIV)”, in La Biblioteca Apostolica Vaticana, Studi I testi, vol. 468, pp. 213–172.
10. Paniccia, C. (2016), “Dalla pagina alla parete, dalla parete alla pagina: rifflessioni sulle equips romane nel duecento”, in Maddalo, S. (ed.), Il libro miniato a Roma nel duecento. Rifflessioni e proposte, Istituto storico italiano per Medioevo, Roma, Italy, pp. 339–335.
11. Paniccia, C. (2016), “Iacopo Stephaneschi e Pietro Cavallini a Santa Maria in Trastevere: imagini scritte, scritture in imagine nel ciclo musivo con le storie della Vergine”, in Anzellotti, E., Rapone, C. and Salvatelli, L. (eds.), Memoria e materia dell’opera d’arte: Proposte e riflessioni, Gangemi Editore, Roma, Italy, pp. 45–56.
12. Romanini, A.M. (1982), “ ‘Stil novo’ e ‘maniera greca’ nella pittura italiana alla fine del Duecento”, in Belting, H. (ed.), Il Medio Oriente e l’Occidente nell’arte del XIII secolo, Bologna, Italy, pp. 137–152.
13. Romano, S. and Andaloro, M. (2017), Pittura medievalе a Roma: 321–1431. Vol. 6. Apogeo e fine del Medioevo: 1288–1431, Jaca Book, Milano, Italy.
14. Müller, M.E. (ed.) (2014), The use of models in Medieval book painting, Newcastle upon Tyne, UK.
15. Tomei, A. (2000), Pietro Cavallini, Silvana, Milano, Italy.
16. Tomei, A. (2017), “La pittura a Roma nel Duecento tra Europa e Bisanzio”, in Orient et occident méditerranéens au XIIIe siècle, Paris, France, pp. 197–214.
Review
For citations:
Golubeva I.V. The mariological cycle of Pietro Cavallini in Santa-Maria in Trastevere: Byzantine and Western influences in Roman monuments at the end of the 13th century. Studia Religiosa Rossica: Russian Journal of Religion. 2023;(3):38-49. (In Russ.) https://doi.org/10.28995/2658-4158-2023-3-38-49
Views:
261
Email this article 