Imitador de Lippi-Pesellino

Virgem com o Menino, São João Batista criança e um anjo, 1460-1470
Tondo do Imitador de Lippi-Pesellino, no MASP, São Paulo

O Imitador de Lippi-Pesellino, já chamado Pseudo-Pier Francesco Fiorentino, foi um pintor anônimo da escola florentina do renascimento, ativo na segunda metade do século XV.

Vida e obra

Desconhece-se a identidade do pintor. Foi provavelmente um discípulo e sobretudo imitador dos pintores florentinos Filippo Lippi e Francesco Pesellino. Por muito tempo, foi erroneamente identificado com Pier Francesco Fiorentino. Em 1932, Bernard Berenson notou que um grupo de obras então atribuídas a Pier Francesco Fiorentino deveriam na verdade pertencer a outro pintor. Cunhou então a expressão Pseudo-Pier Francesco Fiorentino para designar o possível autor dessas obras.[1]

Em 1976, Federico Zeri observa a inadequação do nome proposto por Berenson, constatando que Pier Francesco Fiorentino demonstra ao longo da evolução de sua estética afinidades crescentes com a poética de Neri di Bicci, enquanto que o autor do supracitado grupo de obras parece manter um vínculo fiel com o círculo florentino, preferindo chamar o pintor anônimo de Imitador de Lippi-Pesellino, designação hoje amplamente aceita pela historiografia.[2]

O Imitador de Lippi-Pesellino provavelmente freqüentou o ateliê de Filippo Lippi durante a década de 1440, junto com o Mestre da Natividade Castello e Domenico di Michelino, como parece indicar o fato de que muito provavelmente teve acesso direto aos desenhos e modelos de Filippo.

Bardi o define como "pequeno mestre característico, de técnica ainda um tanto insegura, porém mais aprimorada, comparando com a de Pier Francesco".[3] De fato, o Imitador de Lippi-Pesellino parte de protótipos de Filippo Lippi, explorando com grande êxito o potencial decorativo dessas composições, visando atingir um público mais popular, ao qual as obras de Filippo eram inacessíveis.[4]

Em suas derivações e cópias de obras do mestre florentino é comum o emprego do fundo dourado, com objetivo arcaizante, além da variação cromática esmaltada, que permite entrever uma técnica pictórica de qualidade. As figuras demonstram sempre simpatia e as composições se destacam pelo domínio acurado do desenho.[2]

Atribui-se ao Imitador de Lippi-Pesellino um número considerável de obras, o que permite supor que o pintor comandasse um ateliê bastante ativo em Florença.

Ver também

Referências

  1. ↑ Berenson, 1932.
  2. ↑ a b Marques, 1998, pp. 39-40.
  3. ↑ Bardi, 1978, pp. 22.
  4. ↑ Marques, 1996, pp. 37-39.

Bibliografia

  • Bardi, Pietro Maria (1978). Museu de Arte de São Paulo. Série Enciclopédia dos Museus. XI 2ª ed. São Paulo: Cia. Melhoramentos. 22 páginas 
  • Berenson, Bernard (1932). Italian Pictures of the Renaissance. Oxford: Oxford University Press 
  • Marques, Luiz (1996). Corpus da Arte Italiana em Coleções Brasileiras. A arte italiana no Museu de Ate de São Paulo. São Paulo: Berlendis e Vertecchia. pp. 37–39. ISBN 85-7229-004-4 
  • Marques, Luiz (1998). Catálogo do Museu de Arte de São Paulo Assis Chateaubriand. Arte Italiana. I. São Paulo: Prêmio. pp. 39–40 

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