Publication: Il Culto di Santa Rosa da Lima nei dipinti tra Sei e Settecento nell'Italia meridionale
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Di Liddo, Isabella
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Abstract
L'indagine mira ad indagare come il culto di Santa Rosa, prima santa iberoamericana, abbia trovato diffusione anche in Italia meridionale nelle sue varianti iconografiche. I disegni e i quadri prodotti per la cerimonia della beatificazione, già dal 1668, dal pittore Lazzaro Baldi e l'immagine a carattere devozionale del pittore Carlo Dolci, nonché il noto gruppo marmoreo di Melchiorre Cafà, costituiscono i primi modelli iconografici più noti della Santa. Dopo la canonizzazione, nel 1671, il culto di Santa Rosa diviene molto popolare anche in Italia trovando ampia diffusione tra i domenicani: Rosa, terziaria domenicana, diventa una protagonista nel gruppo dei Santi che accompagnano la consueta iconografia della Madonna del Rosario. In Italia meridionale la produzione di dipinti della santa domenicana da parte dei grandi pittori protagonisti della scena settecentesca napoletana (Luca Giordano, Mattia Preti, Francesco Solimena) testimonia il favore che il culto incontrò nell'ambito della nuova committenza ecclesiastica e nobiliare.
The investigation aims to investigate how the cult of Saint Rosa, the first Iberian American saint, has also spread in southern Italy in its iconographic variants. The drawings and paintings produced for the beatification ceremony, as early as 1668, by the painter Lazzaro Baldi and the devotional image of the painter Carlo Dolci, as well as the well-known marble group of Melchiorre Cafà, constitute the first best-known iconographic models of the Saint. After the canonization, in 1671, the cult of Saint Rosa became very popular in Italy too, finding widespread among the Dominicans: Rosa, a Dominican tertiary, became a protagonist in the group of Saints who accompanied the usual iconography of the Madonna of the Rosary. In southern Italy the production of paintings of the Dominican saint by the great painters protagonists of the eighteenth-century Neapolitan scene (Luca Giordano, Mattia Preti, Francesco Solimena) testifies to the favor that worship met in the context of the new ecclesiastical and noble commission.
The investigation aims to investigate how the cult of Saint Rosa, the first Iberian American saint, has also spread in southern Italy in its iconographic variants. The drawings and paintings produced for the beatification ceremony, as early as 1668, by the painter Lazzaro Baldi and the devotional image of the painter Carlo Dolci, as well as the well-known marble group of Melchiorre Cafà, constitute the first best-known iconographic models of the Saint. After the canonization, in 1671, the cult of Saint Rosa became very popular in Italy too, finding widespread among the Dominicans: Rosa, a Dominican tertiary, became a protagonist in the group of Saints who accompanied the usual iconography of the Madonna of the Rosary. In southern Italy the production of paintings of the Dominican saint by the great painters protagonists of the eighteenth-century Neapolitan scene (Luca Giordano, Mattia Preti, Francesco Solimena) testifies to the favor that worship met in the context of the new ecclesiastical and noble commission.