LA <i>TRINIDAD</i> DEL PINTOR BOLOÑÉS ORACIO SAMACCHINI Y SU PROYECCIÓN EN LA PINTURA LEVANTINA ESPAÑOLA ENTRE LOS SIGLOS XVI Y XVII

Authors

  • José Carlos Agüera Ros
Keywords: pintura italiana, influencia temática compositiva, pintura española

Abstract

The Trinity, work of the bolognese painter, Oracio Samacchini (1532-l577), was transferred to an engraving by the architect, painter and engraver, Domenico Tibaldi (1.541-1583). also Bolognese, with had a wide difusion as a source of formal inspiration for many other paintings thah followed that model but in a different form. The fame of this pictorial scheme soon surpassed the Italian border and reached Spain, where it was used in the 16th and 17th centuries by various painters in the Lavantine area. In the old kingdom of Murcia, Artus Brandt or Tizon. un italianised Flemishpainter, usedpart of this model from the engraving it 1577 for his version of the Assumption and Coronation of the Virgin a commission that he received, from the city council of cartagena. and also in Murcia an anonymous painter used it for a version of the Trinity in the cathedral. Both paintings were on wooden panels.

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How to Cite
Agüera Ros, J. C. (1999). LA <i>TRINIDAD</i> DEL PINTOR BOLOÑÉS ORACIO SAMACCHINI Y SU PROYECCIÓN EN LA PINTURA LEVANTINA ESPAÑOLA ENTRE LOS SIGLOS XVI Y XVII. Imafronte, (14). Retrieved from https://revistas.um.es/imafronte/article/view/37821
Issue
No. 14 (1999)
Section
Artículos

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