article discusses an identification with the Neapolitan revolutionary Masaniello of the fisherman in the painting Fisherman (or Sailor) with a Still Life of Fish in an Interior (ca. 1668-69, Milan, Poletti Private Collection). The author proposes an attribution to Luca Giordano and Giuseppe Recco of the “cooperative” artwork which belonged to the Milanese collector and painter Geo Poletti. The painting has an his own status from the one with the same subject and workmanship at the Gallerie Nazionali Barberini Corsini in Rome, and several pendants are known. The hypothesis of the definition of “cooperative” paintings was given by Roberto Longhi in the Dialogue between Caravaggio and Tiepolo: derisively, and acknowledging a practice that had become widespread in the century following his own, Caravaggio inflicts the definition on Tiepolo’s «theatrical machines»: «Who talks about specialties? […] But you, I feel, have even divided the skills according to the objects and create paintings that are, how should I put it, cooperative». Documented cases in the Seventeenth century concern, for example, the cooperation between the Neapolitan-naturalized Roman Salvator Rosa and the Milanese Giovanni Ghisolfi, or between Rosa and the Ticinese Pier Francesco Mola (already discussed in a previous article by the author published in «Iconographica», XIX, 2019).
Appunti in margine ai quadri «co…-operativi» del Seicento napoletano: collaborazioni di Luca Giordano e Giuseppe Recco
Floriana Conte
2025-01-01
Abstract
article discusses an identification with the Neapolitan revolutionary Masaniello of the fisherman in the painting Fisherman (or Sailor) with a Still Life of Fish in an Interior (ca. 1668-69, Milan, Poletti Private Collection). The author proposes an attribution to Luca Giordano and Giuseppe Recco of the “cooperative” artwork which belonged to the Milanese collector and painter Geo Poletti. The painting has an his own status from the one with the same subject and workmanship at the Gallerie Nazionali Barberini Corsini in Rome, and several pendants are known. The hypothesis of the definition of “cooperative” paintings was given by Roberto Longhi in the Dialogue between Caravaggio and Tiepolo: derisively, and acknowledging a practice that had become widespread in the century following his own, Caravaggio inflicts the definition on Tiepolo’s «theatrical machines»: «Who talks about specialties? […] But you, I feel, have even divided the skills according to the objects and create paintings that are, how should I put it, cooperative». Documented cases in the Seventeenth century concern, for example, the cooperation between the Neapolitan-naturalized Roman Salvator Rosa and the Milanese Giovanni Ghisolfi, or between Rosa and the Ticinese Pier Francesco Mola (already discussed in a previous article by the author published in «Iconographica», XIX, 2019).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
