L’intervento analizza dal punto di vista iconografico gli stucchi modellati da Tiziano Minio nell’Odeo Cornaro a Padova per comprenderne i modelli e per vincolare il cantiere a una cronologia più puntuale. Minio ripropone le composizioni tratte dalle opere grafiche di Agostino Veneziano, Marcantonio Raimondi e Francesco Parmigianino, e le invenzioni degli scultori con cui aveva collaborato: Silvio Cosini e Jacopo Sansovino; si riconoscono riferimenti a monumenti antichi (e agli apparati effimeri, come quello realizzato da Giorgio Vasari per La Talanta (1542).

The paper analyses the stuccos shaped by Tiziano Minio in the Odeo Cornaro in Padua from an iconographic point of view. It also aims to clarify the models and to define the chronology: the compositions realized by Minio were inspired by Agostino Veneziano, Marcantonio Raimondi and Francesco Parmigianino’s graphic works, and by those sculptors with whom he had collaborated: Silvio Cosini and Jacopo Sansovino. Furthermore, there are recognizable references to ancient models and ephemeral works, such as the Giorgio Vasari’s La Talanta (1542).

Giulio Pietrobelli, Alvise Cornaro’s “suntuosissime et accomodate fabriche”. A study on the decoration of the Odeo Cornaro in Padua

This paper presents the results of a research dedicated to the decoration of the rooms of the Odeo Cornaro, of which the author identifies several models, providing a chronological sequence of its execution. The artists involved in this campaign took inspiration from the decoration of Palazzo Te in Mantova, and from artists such as Amico Aspertini, Parmigianino, and Giovanni Antonio Pordenone. The stucco decoration thus reveals a more up-to-date interpretation of motives in comparison to painting and offers important clarifications on the variety and richness of information circulating in Padua, particularly with regard to the unprecedented experimentalism of Alvise Cornaro’s patronage. In this sense, the most significant personality is the stucco decorator Tiziano Aspetti, known as Minio (Padua, 1511 / 1512-1552), who widely uses the motives learned with Silvio Cosini and Jacopo Sansovino, while at the same time experimenting with the inventions of Giorgio Vasari at the time of the apparato for La Talanta, staged in Venice in 1542.

A P P U N T I Dipinti napoletani nella raccolta Rinuccini a Firenze: una collezione da spartire e una proposta per Antonello (Luca Giacomelli) PARAGONE Rivista mensile di arte figurativa e letteratura fondata da Roberto Longhi ARTE Anno LXVIII -Terza serie -Numero 132 (805) Marzo 2017