Antonio Begarelli: contesto, formazione e riflessioni sul catalogo.

This research arises from the need for a critical reassessment of the first twenty years of activity of the Modenese sculptor Antonio Begarelli, with a particular focus on the phases of his training and the development of his classicist style, which has often been attributed to an early journey to Rome. The study begins by reconstructing the artistic landscape of early 16th-century Modena, aiming to glean as much information as possible about the environment encountered by a young, aspiring sculptor. The text delves into the artistic context and workshops that may have shaped Begarelli’s technical and stylistic formation, building on various scholarly hypotheses regarding his possible mentorships. This discussion is preceded by a brief overview of the city’s historical, economic, and social conditions, which undoubtedly influenced Begarelli's career choices and led him to dedicate his work almost exclusively to the Po Valley region. Begarelli’s subsequent career phases are marked by certain key moments that suggest he remained deeply rooted in his hometown, consistently advocating a stylistic language that, while generally stable, experienced some notable variations. The third chapter addresses the pivotal question of whether a Roman sojourn was essential to the formation of Begarelli’s artistic language. This analysis challenges the traditional assumption of such a necessity, considering the significant influence of Raphaelesque material circulating in Emilia, the Florentine connections, and Begarelli’s engagement with the local arts, including the pictorial context. By synthesizing recent scholarly updates on these aspects of 16th-century art, the study proposes a revised view of Begarelli as an artist more deeply connected to his native region than previously acknowledged. The fourth chapter focuses on the technical aspects of Begarelli’s work, particularly the white-chrome or polychrome finishing techniques applied to his terracottas. The final part of the thesis highlights specific cases of particular interest, presenting new findings and clarifications, including discussions on the organization of Begarelli’s workshop and the later reception of his work. In all the aforementioned chapter the period of Begarelli’s production from approximately 1522 to 1540 is explored in detail, with the text addressing various thematic concerns. The work doesn’t include catalog entries, a format extensively adopted in recent publications about the artist, aiming to avoid the methodological rigidity that has often characterized Begarelli scholarship.