Lo Store ufficiale del Polo Museale Fiorentino | Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della citta' di Firenze

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Catalog for the "Norma e Capriccio" exhibition (Florence, Uffizi Gallery, March 5 to May 26, 2013). The first exhibition dedicated to Spanish artists who came to Italy between 1500 and the 1520s to partake of the fervent cultural climate in Florence, Rome and Naples. Prompted to travel by their thirst for first-hand contact with fundamental works of modern art, this illustrious group of artists included such personalities as: Alonso Berruguete, Pedro Machuca, Pedro Fernández (better known as the “Pseudo-Bramantino”), Bartolomé Ordóñez, and Diego de Silóe. They came from different parts of the Iberian peninsula - Palencia, Toledo, Murcia and Burgos - and proved capable of forging careers for themselves as leading players in European ‘Mannerism.’ Historic-artistic Italian sources readily acknowledge these artists' dominant position in the international 16th century scene. For instance, in his artist biography series, "Lives of the Most Excellent Painters, Sculptors and Architects," Giorgio Vasari places Berruguete on the same level as Rosso, and includes Pontormo in a study on Michelangelo and Leonardo da Vinci's work. Moreover, Pietro Summonte, a celebrated scholar from Campania, also mentions the work of Ordóñez and De Silóe in a letter on the most important monuments in Naples, dated 1524. The exhibition is divided
into four sections, organized geographically, that compare and contrast artists' prestigious masterpieces with extraordinary examples of Italy's own production in the 15th and 16th centuries.
The first section, devoted to Florence, reconstructs Alonso Berruguete's Italian career (which has been studied by both Roberto Longhi and Federico Zeri), providing the visitor with an unprecedented chance to compare the artist's works against one another (most of which now belong to the Uffizi and other leading museums both in Italy and abroad, the
Loeser Collection in Palazzo Vecchio, and the Galleria Borghese in Rome). At the same time, the exhibit explores Berruguete's modernity through a comparison with the significant achievements of his contemporaries (including Andrea del Sarto, Rosso, Pontormo, Baccio Bandinelli, and Jacopo Sansovino) in the fields of sculpture and painting. Visitors are able to assess the impact that Florentine tradition had on Berruguete's
work, thanks also to the presence of pieces by Donatello, Leonardo, Michelangelo, Filippino Lippi and Piero di Cosimo at the exhibition. The second section, focusing on paintings by Pedro Machuca, explores the artist's role in Raphael's workshop, in Rome, during 1510s and '20s. It also assesses Raphael's influence on southern Italy, through the work of Pedro Fernández, whose Italian career was played out between Milan, Latium, and Campania.
The third section allows the visitor to admire some of the splendid sculptures produced by Bartolomé Ordóñez and Diego de Silóe, during their time in Naples in the 1520s, when they embodied the very best in ‘Mannerist’ statuary. Their work is displayed alongside  that of Girolamo Santacroce and Domenico Napolitano, in order to gauge their
impact on local Campanian culture. The final section of the exhibition focuses on the work these artists produced after their return home to Valladolid, Granada, and Toledo. This allows the visitor to measure the impact that their experience in Italy had on their style and figurative language.

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