The Ubeda Pieta`, a celebrated work by Sebastiano del Piombo (Madrid, Prado), commissioned in 1533 by Ferrante Gonzaga for Francesco de los Cobos, was intended for his funerary chapel in the church of San Toma`s at Ubeda. It was afterwards placed in the church of San Salvador. The particular interest of this work lies in the rapport between the painting itself and the relationship between Ferrante Gonzaga and Francesco de los Cobos, in its connection to the religious questions of this period and to the critical success of the work in Spain, where it arrived in 1540. The Pieta` shows Sebastiano’s Venetian training, both in composition and in the choice of subject, which are subsequently enriched by the artist himself and through his contacts with Michelangelo. In a dialogue between art and devotion, the Ubeda Pieta` seems to share in the thirties the position of the Spirituali at least through the relationship between Sebastiano and Michelangelo, an attitude which would later develop into an open support of the cult of images through the display of relics.
La Pietà di Ubeda commissionato nel 1533 da Ferrante Gonzaga per Francesco de los Cobos per la sua cappella funeraria. Il particolare interesse del saggio consiste nella connessione fra Sebastiano del Piombo e Michelangelo anche in rapporto alle vicende religiose del tempo
Sebastiano del Piombo e la Pietà di Ubeda fra narrazione e devozione / Cieri, Claudia. - In: KONSTHISTORISK TIDSKRIFT. - ISSN 0023-3609. - STAMPA. - 81 (2012), n. 4:(2012), pp. 262-269.
Sebastiano del Piombo e la Pietà di Ubeda fra narrazione e devozione
CIERI, Claudia
2012
Abstract
The Ubeda Pieta`, a celebrated work by Sebastiano del Piombo (Madrid, Prado), commissioned in 1533 by Ferrante Gonzaga for Francesco de los Cobos, was intended for his funerary chapel in the church of San Toma`s at Ubeda. It was afterwards placed in the church of San Salvador. The particular interest of this work lies in the rapport between the painting itself and the relationship between Ferrante Gonzaga and Francesco de los Cobos, in its connection to the religious questions of this period and to the critical success of the work in Spain, where it arrived in 1540. The Pieta` shows Sebastiano’s Venetian training, both in composition and in the choice of subject, which are subsequently enriched by the artist himself and through his contacts with Michelangelo. In a dialogue between art and devotion, the Ubeda Pieta` seems to share in the thirties the position of the Spirituali at least through the relationship between Sebastiano and Michelangelo, an attitude which would later develop into an open support of the cult of images through the display of relics.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
