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Conference Presentations by Alessandra Costa
Papers by Alessandra Costa
"Les modèles dans l'art du Moyen Age (XIIe-XVe siècles)", D. Borlée et L. Terrier (éd.), actes du colloque "Modèles supposés, modèles repérés : leurs usages dans l’art gothique", 3-5 novembre 2016, Université de Genève, Turnhout, Brepols, 2018
The rediscovery of a fresco signed by Giacomo Jaquerio in Sant’Antonio di Ranverso (Turin) in 191... more The rediscovery of a fresco signed by Giacomo Jaquerio in Sant’Antonio di Ranverso (Turin) in 1914 marked the impetus to establish the corpus of the artist, who was previously only known through archival sources. As none of the artworks mentioned within those documents survives, attributions of other works to the artist are based on stylistic considerations. Since the 1979 exhibition entitled "Giacomo Jaquerio e il gotico internazionale" in Turin, the painter has been credited with a collection of works demonstrating a compelling stylistic coherence. This group includes the signed fresco from Ranverso, the "Concert des Anges" which adorned the vaulted ceiling of the Chapel of the Maccabees in the St. Pierre’s Cathedral in Geneva and two panel paintings in the Museo civico d’arte antica in Turin.
Supposing a journey to Bourges prior to the execution of the Genevan frescoes aids the reconstruction of the development of Jaquerio’s stylistic and iconographic idiosyncrasies before 1411, the year he is documented as having been in Geneva. By establishing his probable visual environs, this hypothesis questions, among other things, which cultural models were cultivated as references in Amédée VIII’s entourage at that time. Confronting for the first time the Maccabees frescoes in Geneva with a stained-glass window in Bourges Cathedral containing a celestial chorus scene raises the issue of the freedom of interpretation around a common iconographic theme and, consequently, the status that should be attributed to the artwork that Jaquerio may have contemplated in Bourges.
Revue de l'Art, 2018
In 1914, a fresco signed by Giacomo Jaquerio (documented between 1404 and 1453 in the county and ... more In 1914, a fresco signed by Giacomo Jaquerio (documented between 1404 and 1453 in the county and then duchy of Savoy) was discovered in the choir of Sant’Antonio di Ranverso, close to Turin. From that moment a reconstruction of the artist's catalogue was initiated. By putting forward a selection of paintings that can safely be attributed to Jaquerio around 1415 this paper presents new hypotheses regarding the artist's itinerary. In the 1980s, Enrico Castelnuovo and Giovanni Romano already demonstrated, by identifying significant models, how Jaquerio built up his iconographical as well as stylistic experience. Exploring these suggestions further and including other possible models, this paper proposes to add Bourges and Genoa to the places where the artist must have stayed. The network of patrons for which Jaquerio painted is also examined here. The council of Pisa, in 1409, gathers most of the artist’s major patrons. This event enables to account for Jaquerio’s subsequent itinerary not only inside the county of Savoy but also outside its boundaries. The identification of new artistic models that shaped the painter’s work combined with the network in which he circulated help to get a better understanding of how Giacomo Jaquerio contributed to the artistic production of the reign of Amadeus VIII.
Catalogue Entries by Alessandra Costa
"Vous avez dit mandragore ? Accueillir et soigner en Occident," catalogue d’exposition, S. Demarthe, G. Mocellin (dir.), 7 juillet-11 novembre 2018, Musée départemental de Saint-Antoine-l’Abbaye, Saint-Antoine-l’Abbaye, 2018
Saint-Antoine de Ranvers a été la maison de l’ordre hospitalier des Antonins la plus puissante da... more Saint-Antoine de Ranvers a été la maison de l’ordre hospitalier des Antonins la plus puissante dans le nord de la Péninsule italienne. Les fresques du chœur de son église sont signées par Giacomo Jaquerio, artiste de premier plan dans l'Etat savoyard, documenté entre 1401 et 1453. Une Vierge à l’Enfant avec donateur, saints et prophètes est représentée sur la paroi nord. Des Histoires d’Antoine l’Egyptien, saint patron des hospitaliers, une Procession de paysans et un Homme de douleurs ornent la paroi sud. Le devoir d’assistance constituant la mission principale de l’ordre antonin, il est courant que les pouvoirs guérisseurs de saint Antoine ou des reliques de celui-ci, possédées par les hospitaliers, soient mis en valeur dans le décor. A Ranvers, ce sont des solutions iconographiques peu communes qui évoquent le monopole des Antonins dans le soin des malades du feu de saint Antoine. Des apports documentaires inédits relatifs à l’histoire de Ranvers et de l’ordre au XVe siècle permettent de mieux comprendre les spécificités de ce cycle peint.
Conference Organization by Alessandra Costa
"Les modèles dans l'art du Moyen Age (XIIe-XVe siècles)", D. Borlée et L. Terrier (éd.), actes du colloque "Modèles supposés, modèles repérés : leurs usages dans l’art gothique", 3-5 novembre 2016, Université de Genève, Turnhout, Brepols, 2018
The rediscovery of a fresco signed by Giacomo Jaquerio in Sant’Antonio di Ranverso (Turin) in 191... more The rediscovery of a fresco signed by Giacomo Jaquerio in Sant’Antonio di Ranverso (Turin) in 1914 marked the impetus to establish the corpus of the artist, who was previously only known through archival sources. As none of the artworks mentioned within those documents survives, attributions of other works to the artist are based on stylistic considerations. Since the 1979 exhibition entitled "Giacomo Jaquerio e il gotico internazionale" in Turin, the painter has been credited with a collection of works demonstrating a compelling stylistic coherence. This group includes the signed fresco from Ranverso, the "Concert des Anges" which adorned the vaulted ceiling of the Chapel of the Maccabees in the St. Pierre’s Cathedral in Geneva and two panel paintings in the Museo civico d’arte antica in Turin.
Supposing a journey to Bourges prior to the execution of the Genevan frescoes aids the reconstruction of the development of Jaquerio’s stylistic and iconographic idiosyncrasies before 1411, the year he is documented as having been in Geneva. By establishing his probable visual environs, this hypothesis questions, among other things, which cultural models were cultivated as references in Amédée VIII’s entourage at that time. Confronting for the first time the Maccabees frescoes in Geneva with a stained-glass window in Bourges Cathedral containing a celestial chorus scene raises the issue of the freedom of interpretation around a common iconographic theme and, consequently, the status that should be attributed to the artwork that Jaquerio may have contemplated in Bourges.
Revue de l'Art, 2018
In 1914, a fresco signed by Giacomo Jaquerio (documented between 1404 and 1453 in the county and ... more In 1914, a fresco signed by Giacomo Jaquerio (documented between 1404 and 1453 in the county and then duchy of Savoy) was discovered in the choir of Sant’Antonio di Ranverso, close to Turin. From that moment a reconstruction of the artist's catalogue was initiated. By putting forward a selection of paintings that can safely be attributed to Jaquerio around 1415 this paper presents new hypotheses regarding the artist's itinerary. In the 1980s, Enrico Castelnuovo and Giovanni Romano already demonstrated, by identifying significant models, how Jaquerio built up his iconographical as well as stylistic experience. Exploring these suggestions further and including other possible models, this paper proposes to add Bourges and Genoa to the places where the artist must have stayed. The network of patrons for which Jaquerio painted is also examined here. The council of Pisa, in 1409, gathers most of the artist’s major patrons. This event enables to account for Jaquerio’s subsequent itinerary not only inside the county of Savoy but also outside its boundaries. The identification of new artistic models that shaped the painter’s work combined with the network in which he circulated help to get a better understanding of how Giacomo Jaquerio contributed to the artistic production of the reign of Amadeus VIII.
"Vous avez dit mandragore ? Accueillir et soigner en Occident," catalogue d’exposition, S. Demarthe, G. Mocellin (dir.), 7 juillet-11 novembre 2018, Musée départemental de Saint-Antoine-l’Abbaye, Saint-Antoine-l’Abbaye, 2018
Saint-Antoine de Ranvers a été la maison de l’ordre hospitalier des Antonins la plus puissante da... more Saint-Antoine de Ranvers a été la maison de l’ordre hospitalier des Antonins la plus puissante dans le nord de la Péninsule italienne. Les fresques du chœur de son église sont signées par Giacomo Jaquerio, artiste de premier plan dans l'Etat savoyard, documenté entre 1401 et 1453. Une Vierge à l’Enfant avec donateur, saints et prophètes est représentée sur la paroi nord. Des Histoires d’Antoine l’Egyptien, saint patron des hospitaliers, une Procession de paysans et un Homme de douleurs ornent la paroi sud. Le devoir d’assistance constituant la mission principale de l’ordre antonin, il est courant que les pouvoirs guérisseurs de saint Antoine ou des reliques de celui-ci, possédées par les hospitaliers, soient mis en valeur dans le décor. A Ranvers, ce sont des solutions iconographiques peu communes qui évoquent le monopole des Antonins dans le soin des malades du feu de saint Antoine. Des apports documentaires inédits relatifs à l’histoire de Ranvers et de l’ordre au XVe siècle permettent de mieux comprendre les spécificités de ce cycle peint.
Généré par le marché de l’art du XVIIIe siècle, le catalogue devient dès le XIXe siècle un outil ... more Généré par le marché de l’art du XVIIIe siècle, le catalogue devient dès le XIXe siècle un outil fondamental de l’histoire de l’art, en visant à établir l’identité de chaque élément au sein d’un ensemble. Dans la sphère muséale, il constitue un genre autonome, lié à l’étude d’une collection permanente ou à la présentation d’une exposition temporaire. Mais il peut également être associé à d’autres genres, comme celui de la monographie d’artiste. Depuis la Seconde Guerre mondiale, il s’est considérablement développé et enrichi, en adaptant son contenu et ses méthodes à l’état de la recherche. Cependant, force est de constater qu’il est parfois dévalorisé dans la sphère académique. Quel est donc son rôle aujourd’hui dans l’histoire de l’art ? L’atelier se propose de réfléchir à cette question, en étendant la problématique à la notion de corpus qui sous-tend nombre de recherches doctorales.
