La chiesa di San Bartolomeo e la comunità tedesca a Venezia

N. Bonazza, I. Di Lenardo, G. Guidarelli (a cura di)

• Editore: Marcianum Press
• Anno: 2014
• ISBN:
  9788865123492
• Argomento: Architektur
• Categoria: Religiöse Architektur

Al centro nevralgico della città di Venezia, laddove per secoli si sono intrecciati rapporti commerciali e culturali mediante l'incontro di genti provenienti da tutta Europa, si trova la chiesa di San Bartolomeo. All'interno di questo luogo di culto fin dal Trecento ebbe il suo punto di aggregazione anche la devozione dei Tedeschi residenti nel vicino Fondaco. I saggi raccolti nella presente pubblicazione costituiscono un interessante contributo di conoscenze storiche da collocare nell'attuale prospettiva della società plurale. a cura di: Natalino Bonazza, Isabella di Lenardo, Gianmario Guidarelli

APPARATI

ABSTRACT

BERND ROECK

Artists – artisans – merchants: Germans in early modern Venice

The relationship between the German world and Venice is complex and rich in social, economic, cultural and artistic implications. Germans had many motives for their interest in Venice: pilgrims, such as Felix Fabri, for instance, sought out the churches, tombs and relics of a “holy city”. Venice was also the port of departure for pilgrims travelling to the Holy Land. Hu-manists came to see Venice’s libraries, Greek manuscripts, and antiquities. Merchants and bankers were attracted to the city that was the gateway to the Mediterranean economy, a crossroads for trade between the West, Central Europe and the East. Many German merchants lingered in Venice, in the Fondaco dei Tedeschi, to learn the Italian language and commercial practices such as double-entry bookkeeping. Artisans also flocked to Venice, wanting to learn the most innovative artistic techniques, and finding a very rich market in which to sell their works. Artists such as Dürer or Schickhardt came to study the latest developments in the arts and collabo-rated with German merchants in the trade in works of art. The most interest-ing aspect of the relationship between Germans and Venetians, however, is the cultural exchange which took place through the thriving medium of print, particularly in the sixteenth century. The role of German printers in Venice was thus decisive.

For the Germans who came as merchants or pilgrims, Venice was a city of dreams, regarded as a miraculous place of incredible wealth. Diaries and travel accounts describe feelings of endless awe and admiration, above all, a fascination with highly expensive construction materials. For architects in particular, Venice offered unique opportunities to acquire techniques and languages, which once imported to Northern Europe were key factors in the spread of the Renaissance. Venice was a favored theme for cityscapes produced in the German context for these reasons. The city is represented in almost all of the books on European cities (Städtebücher) such as the “Peregrinatio in terram sanctam” by Bernhard von Breydenbach.

ANDREW JOHN MARTIN

Who is who and where is the doge do? The “Feast of the Rose

Garlands”: portraits, no-portraits and the history of the dürer’s masterpiece

In the so-called “Feast of the Rose Garlands” conceived as an altarpiece for San Bartolomeo, where it remained for one hundred years, Dürer reflects on the cult of Mary, the social situation of the Germans in Venice, transalpine trade, international politics and his view of art. After a brief introduction to key events from the work’s commission in 1505 to its sale to Prague in 1606, this paper presents some new insights into the portraits in the Venetian masterpiece by the Nuremberg artist. The main thesis is that the meeting of the faces to the left and right of the Virgin Mary’s throne was not only of great importance for the function of the altarpiece, but also for other commissions entrusted to Dürer, for the painting’s reception after the vic-tory of Lepantoand not least for its in-triguing history.

A new approach to the effigies should b based on a more open system of decodification through which we find portraits drawn ad vivum (also using drawings by other artists), ideal portraits and the representation of particular ‘types’ or anonymous members of the German community in Venice. Further-more the presence of an important con-temporary individual is suggested.

The “Feast of the Rose Garlands” thus depicts a large number of portraits and non-portraits. The painting was not simply a work of devotion, nor a straightforward product of Dürer’s technical virtuosity and intellectual capacity. It was also a diplomatic document in a time of crisis, which was closely connected with its genius loci.

THOMAS ESER

«In honor of the city and its merchant...

Indice dei contenuti

• Copertina
• Colophon
• Indice
• Natalino Bonazza, Isabella di Lenardo, Gianmario Guidarelli Introduzione
• Intorno a san bartolomeo: idee, persone e commerci
• Dallo spazio urbano al luogo di culto: committenze, artisti e opere
• Dentro a san bartolomeo: vita religiosa e pastorale
• Documenti
• Apparati
• Note