Fra tradizione lagunare e linguaggio gotico di terraferma nella seconda metà del Trecento: il pittore Stefano «plebanus» di Sant’Agnese

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Articolo

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ARTE LOMBARDA - 2020 - 2 - 3

Titolo

Fra tradizione lagunare e linguaggio gotico di terraferma nella seconda metà del Trecento: il pittore Stefano «plebanus» di Sant’Agnese

Beetween Venetian tradition and Gothic language of Terraferma in the second half of the 14th century: The painter Stefano «plebanus» di Sant’Agnese

Autore

Federica De Giambattista

Editore

Vita e Pensiero

Formato

Articolo |

Pdf

Online da

07-2021

Doi

10.26350/666112_000063

Issn

0004-3443 (stampa) | 2785-1117 (digitale)

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Descrizione Commenti dei lettori

Stefano «plebanus» di Sant’Agnese has been ignored by the art critics for a very long time, starting with the Venetian scholars of the beginning of the 19th century, who were the first to be interested and to get involved in the historical reconstruction of the Venetian lagoon painting tradition. A major role for the non-recognition of Stefano was played also by the wrong interpretation of the adjective «plebanus», which made many art historians and art lovers believe that he had been a clergyman. Only since the 1930s art critics have given to Stefano a significant role among the pupils of the two main Venetian masters of the 14th century, Paolo and Lorenzo Veneziano. In more recent years some paintings by Stefano have been on show in exhibitions both in Italy and abroad, thanks to careful curatorial choices that recognised the importance of his artistic personality. the autor retraces the steps of Stefano’s pictorial production, which forms the basis to reconstruct his artistic personality, in the substantial absence of archival documents that could certainly test his activity. In the last years distinguished scholars wrote some in-depth contributions about specific subjects of the medieval Venetian art, but it’s still unavailable a monographic paper about Stefano di Sant’Agnese, that could shed a focused light on the different stages of his activity. So the aim of this contribution is to better include him in the large group of Venetian artists of the second half of the 14th century, who had exchanges and often very strong contacts with the Gothic painting tradition of terraferma, well represented by artists such as Guariento in Padua and tommaso da Modena in treviso.

keywords

Stefano «plebanus» di Sant’Agnese; Paolo Veneziano; Lorenzo Veneziano; Guariento; tommaso da Modena; Venetian late-Gothic painting; church of San Zaccaria in Venice, San tarasio chapel; church of Santa Maria dell’Orto; Venetian terraferma; church of San