MDCCC 1800
7 | 2018

MDCCC 1800
7 | 2018

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Vol. 7 | Num. 1 | Luglio 2018

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MDCCC 1800 | 7 | 2018

Un ritratto di Dante senza casa

Bruno Zanardi
Università degli Studi di Urbino Carlo Bo
bruno.zanardi@uniurb.it

DOI 10.30687/MDCCC/2280-8841/2018/01/001

Submitted 22 Mar 2018
Accepted 14 May 2018

Abstract

A small 19th century painting by an anonymous Master; a portrait of Dante, its subject; a note which reads ‘E. Degas’. These three elements form the basis of the study presented in this paper, which relates to a painting whose extremely high quality is self-evident, executed in the manner of old starting from an abbozzo, as not always was customary in 19th century, a painting which was in turn taken from Dante’s death-mask, which Degas among many other artists had drawn. Added to this is a small iconographical mystery: the poet’s face as depicted here is different from the usual depiction of the angry, elderly Florentine poet in exile. Indeed it shows a youth whose expression is at once enigmatic and appeased: could he be the Dante of Purgatory, known, from the Divine Comedy’s three cantiche to have been best loved by Degas? And if the author were not the youthful copyist Degas, is our painting then definitely by a French Master? Could the unique ‘young Dante’ be the work of a Nazarene or, rather, of a Purist? In short: ‘a painting, the philology and perhaps a name’.

Keywords
Dante’s mask. Abbozzo. Delacroix. Ingres. Degas. Mussini. Paul Delaroche. Veit. Koch.

Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License 

Table of contents
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Campo DC Valore

dc.contributor.author

Zanardi Bruno

dc.title

Un ritratto di Dante senza casa

dc.type

Journal Article

dc.language.iso

it

dc.identifier.uri

http://doi.org/10.14277/2280-8841/2018/001/01

dc.description.abstract

A small 19th century painting by an anonymous Master; a portrait of Dante, its subject; a note which reads ‘E. Degas’. These three elements form the basis of the study presented in this paper, which relates to a painting whose extremely high quality is self-evident, executed in the manner of old starting from an abbozzo, as not always was customary in 19th century, a painting which was in turn taken from Dante’s death-mask, which Degas among many other artists had drawn. Added to this is a small iconographical mystery: the poet’s face as depicted here is different from the usual depiction of the angry, elderly Florentine poet in exile. Indeed it shows a youth whose expression is at once enigmatic and appeased: could he be the Dante of Purgatory, known, from the Divine Comedy’s three cantiche to have been best loved by Degas? And if the author were not the youthful copyist Degas, is our painting then definitely by a French Master? Could the unique ‘young Dante’ be the work of a Nazarene or, rather, of a Purist? In short: ‘a painting, the philology and perhaps a name’.

dc.relation.ispartof

MDCCC 1800

dc.relation.ispartof

Vol. 7 | Num. 1 | Luglio 2018

dc.publisher

Edizioni Ca’ Foscari - Digital Publishing

dc.date.issued

2018-07-31

dc.dateAccepted

2018-03-22

dc.dateSubmitted

2018-05-14

dc.identifier.issn

dc.identifier.eissn

2280-8841

dc.rights

Creative Commons 4.0 Attribution alone

dc.rights.uri

http://creativecommons.org/licenses/by/4.0/

dc.subject

Dante’s mask

dc.subject

Abbozzo

dc.subject

Delacroix

dc.subject

Ingres

dc.subject

Degas

dc.subject

Mussini

dc.subject

Paul Delaroche

dc.subject

Veit

dc.subject

Koch

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