Lot 69: Ecole lombarde, Pavie, fin du XVe siècle Saint Pierre en Pape Panneau de retable. Peinture à l''œuf et fond d''or sur panneau de bois.

Artcurial

November 14, 2016, 7:00 PM CET
Paris, France
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Description: Ecole lombarde, Pavie, fin du XVe siècle
Saint Pierre en Pape
Panneau de retable. Peinture à l''œuf et fond d''or sur panneau de bois rectangulaire

Saint Peter as pope, tempera and gold on panel, Lombard School, end of the 15th Century
h: 97,50 w: 35 cm

Provenance : Collection Mario Rossi, Arcisate (Varèse) ;
Collection particulière, Italie

Bibliographie : Carla Vannutelli, "Intorno a Leonardo Vidolenghi. problemi di pittura pavese di secondo Quattrocento", in ''Paragone'', mars 1995, n°541, p. 22, repr. fig. 21 b- 22 a-b, note 28.

Commentaire : En 1958, Federico Zeri publiait plusieurs panneaux de diverses provenances qu''il rassemblait en un seul polyptyque l''attribuant à un artiste anonyme lombard vers 1470-14801. Outre leur identité de style, le fait que les personnages de ce retable soient présentés sur fond d''or et enchâssés initialement dans des cadres avec arcades polylobées, aujourd''hui disparus mais dont la trace est encore visible, a permis à cet historien de rassembler les saints Christophe, Giorgio da Cremona, Jean Baptiste, Sébastien entourant une Vierge centrale debout adorant l''Enfant posé à terre à ses pieds. C''est à cet ensemble que Carla Vannutelli a proposé de relier notre Saint Pierre ainsi qu''une Vierge présentant la même iconographie inaccoutumée que celle du retable cité et provenant tous deux de la collection Mario Rossi. L''attribution en revenait à un peintre anonyme de Pavie à la fin du XVe siècle².
Seul le Saint Pierre est réapparu ici. Il se présente en pied, portant les insignes pontificaux, le triregnum et le pallium, arborant dans sa main gauche la croix et les clés tandis qu''il bénit de la main droite. Sous son manteau ponctué de motifs étoilés retenu par un fermail et bordé d''orfrois dorés traités par une ornementation poinçonnée, le saint porte une longue robe blanche abondamment plissée retombant sur ses pieds.
Dans l''article de 1995, consacré à la peinture à Pavie à la fin du XVe siècle, outre le retable recomposé par F. Zeri, l''auteur rapproche notre Saint Pierre et la Vierge d''une fresque représentant les Ames du Purgatoire dans l''église des Saints Primo et Feliciano à Pavie3. Comme dans ces œuvres le Saint Pierre offre une même conception un peu rigide de la forme, une expression sérieuse et intériorisée et, surtout, un traitement identique des drapés " mouillés " soulignant l''apparence corporelle. Son auteur doit encore rester dans l''anonymat comme toute cette cohorte d''artistes actifs à Pavie au tournant du XVIe siècle qui œuvrèrent dans l''ombre de Leonardo Vidolenghi, connu à Pavie et à Gênes de 1446 à 1499 et dont l''atelier florissant attira de nombreux artistes.

1. Voir " Un polittico con l''effigie del Beato Giorgio da Cremona ", in ''Paragone'', 1958, n°103, p. 69-71, fig. 48
2. C. Vannutelli, " Intorno a Leonardo Vidolenghi. Problemi di pittura pavese di secondo quattrocento " in ''Paragone'', mars 1995, n°541, p. 22, n.28, fig. 21b, 22a-b
3. ''Ibid.'', figs. 20,21a



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