The innovative naturalistic qualities in the portrait of the Genoese physician Demetrio Canevari, carved by the sculptor Tomaso Orsolino in 1626-1627 for his cenotaph in the church of Santa Maria di Castello in Genoa, cast new light on early adherence to Roman sculptures of the early 1600s in Liguria. Bearing in mind how the preparatory drawing, dated 7 May 1626, differs from the finished work, and how high-level patronage was aware of the latest artistic and cultural developments in Rome – where Demetrio had been active throughout his life, at Santa Maria sopra Minerva – the Canevari monument can now be identified as a significant and early precursor to the Baroque innovations of the later seventeenth century, which remained dormant and not entirely understood or reiterated for about forty years.
Tomaso Orsolino in Santa Maria di Castello a Genova
MONTANARI, GIACOMO
2016-01-01
Abstract
The innovative naturalistic qualities in the portrait of the Genoese physician Demetrio Canevari, carved by the sculptor Tomaso Orsolino in 1626-1627 for his cenotaph in the church of Santa Maria di Castello in Genoa, cast new light on early adherence to Roman sculptures of the early 1600s in Liguria. Bearing in mind how the preparatory drawing, dated 7 May 1626, differs from the finished work, and how high-level patronage was aware of the latest artistic and cultural developments in Rome – where Demetrio had been active throughout his life, at Santa Maria sopra Minerva – the Canevari monument can now be identified as a significant and early precursor to the Baroque innovations of the later seventeenth century, which remained dormant and not entirely understood or reiterated for about forty years.
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