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DOI Artikel:Murawska-Muthesius, Katarzyna; Secomska, Krystyna: Mary Magdalen, the counter reformation and the Caravaggisti: are there any more paintings by Antiveduto Gramatica in Poland?
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18945#0107
Katarzyna Murawska-Muthesius
Krystyna Secomska
Mary Magdalen, the Counter
Reformation and the Caravaggisti
Are there any more paintings
by Antiveduto Gramatica in Poland? *
Forty years ago, while discussing the followers of Caravaggio in Rome,
Wittkower classified Antiveduto Gramatica (1571-1626) as an artist uof only
marginal interest”.1 Since that time, however, due to the expansion of Seicento
studies, the works of Gramatica have attracted the attention of several scholars
who had undertaken the task of the reconstruction and of the re-assessment of
his oeuvre.1 Quite recently, a monograph has been published by Gianni Papi,
* The first two parts of this article discussing the Polish links of Antiveduto Gramatica and the
painting Martha Rebuking Mary for her Vanity are an expanded version of the paper delivered by
Katarzyna Murawska-Muthesius at the symposium Various aspects of Caravaggism at the National
Museum in Warsaw in October 1996. The third part of the article, was not presented at the
symposium; it outlines briefly the research carried by Krystyna Secomska on the painting Tulerunt
Dominum Meum, another work linked to Gramatica’s workshop in Poland. The authors wish to
thank Ugo Ruggeri, Eduard Safarik, Teresa Zóltowska-Huszcza, Kazimierz Parfianowicz, Andrzej
Stoga, Joanna Szczepinska-Tramer, Michael Brandon-Jones, Elzbieta Paruszewska, Hanna Benesz,
Justyna Guze and Maciej Monkiewicz for all their help in the preparation of this article.
1 R.Wittkower, Art and Architecture in Italy 1600-1750, Harmondsworth, Middlesex 1982
(lst.ed. 1958), p.73.
2 R. Longhi, “Quesiti Caravaggeschi, I, Registro dei tempi”, Pinacotheca, I, 1928, pp. 19-20; republ.
in idem, “Me Pinxit” e Quesiti Caravaggeschi, Firenze 1968, pp.84, 138-139; idem, “Ultimi
studi sul Caravaggio e la sua cerchia”, Proporzioni, I, 1943, pp.32, 54-55; A. Moir, The Italian
Followers of Caravaggio, Cambridge, Mass. 1967, II, pp.79-80; A. Marino, “Un caravaggesco fra
Controriforma e Barocco: Antiveduto Gramatica”, L’Arte, 1968, 3-4, pp.47-82; M.V Brugnoli,
“Imperiale (e non Antiveduto) della Gramatica”, Paragone, CCEVJ 1971, pp.71-74; G. Papi,
“Note al Gramatica e al suo ambiente”, Paradigma, 9, 1990, pp. 107-127; A. Szigethi, “Un dipinto
sconosciuto di Antiveduto Gramatica e altri dati sulla sua opera",Acta Historiae Artium. Academiae
Scientiarum Hungaricae, XXXWj 1989, pp. 107-110 (pubi, in 1990); L arte per i papi e per i principi
nella campagna romana: grande pittura del’600 e del’700. Palazzo Venezia, Roma 1990, pp.42M4,
49-52; H.Ph.Riedl, E. Schleier, “Ein unbekanntes Hochaltarbild Antiveduto della Grammaticas in
Todi und weitere Neuzuweisungen”, Pantheon, L, 1992, pp.61-73; E. Nyerges, A. Szigethi, in:
L’Europa nella pittura nel XVII secolo. 80 capolavori dai musei ungheresi, exhib.cat., Palazzo della
Permanente, Milano 1993, pp.98-102; Papi, in: R. Contini, G.Papi, Giovanni Serodine
(1594/1600-1630) e i precedenti romani, exhib. cat. Rancate, Lugano 1993, pp.138-149; Riedl,
„Ein wiedergefundenes Doppelbildnis der Heiligen Praxedis und Pudentiana von Antiveduto della
Grammatica”, Mitteilungen des Kunsthistorischen Institutes in Florenz, XXXVII, 1993, 1,
97
Krystyna Secomska
Mary Magdalen, the Counter
Reformation and the Caravaggisti
Are there any more paintings
by Antiveduto Gramatica in Poland? *
Forty years ago, while discussing the followers of Caravaggio in Rome,
Wittkower classified Antiveduto Gramatica (1571-1626) as an artist uof only
marginal interest”.1 Since that time, however, due to the expansion of Seicento
studies, the works of Gramatica have attracted the attention of several scholars
who had undertaken the task of the reconstruction and of the re-assessment of
his oeuvre.1 Quite recently, a monograph has been published by Gianni Papi,
* The first two parts of this article discussing the Polish links of Antiveduto Gramatica and the
painting Martha Rebuking Mary for her Vanity are an expanded version of the paper delivered by
Katarzyna Murawska-Muthesius at the symposium Various aspects of Caravaggism at the National
Museum in Warsaw in October 1996. The third part of the article, was not presented at the
symposium; it outlines briefly the research carried by Krystyna Secomska on the painting Tulerunt
Dominum Meum, another work linked to Gramatica’s workshop in Poland. The authors wish to
thank Ugo Ruggeri, Eduard Safarik, Teresa Zóltowska-Huszcza, Kazimierz Parfianowicz, Andrzej
Stoga, Joanna Szczepinska-Tramer, Michael Brandon-Jones, Elzbieta Paruszewska, Hanna Benesz,
Justyna Guze and Maciej Monkiewicz for all their help in the preparation of this article.
1 R.Wittkower, Art and Architecture in Italy 1600-1750, Harmondsworth, Middlesex 1982
(lst.ed. 1958), p.73.
2 R. Longhi, “Quesiti Caravaggeschi, I, Registro dei tempi”, Pinacotheca, I, 1928, pp. 19-20; republ.
in idem, “Me Pinxit” e Quesiti Caravaggeschi, Firenze 1968, pp.84, 138-139; idem, “Ultimi
studi sul Caravaggio e la sua cerchia”, Proporzioni, I, 1943, pp.32, 54-55; A. Moir, The Italian
Followers of Caravaggio, Cambridge, Mass. 1967, II, pp.79-80; A. Marino, “Un caravaggesco fra
Controriforma e Barocco: Antiveduto Gramatica”, L’Arte, 1968, 3-4, pp.47-82; M.V Brugnoli,
“Imperiale (e non Antiveduto) della Gramatica”, Paragone, CCEVJ 1971, pp.71-74; G. Papi,
“Note al Gramatica e al suo ambiente”, Paradigma, 9, 1990, pp. 107-127; A. Szigethi, “Un dipinto
sconosciuto di Antiveduto Gramatica e altri dati sulla sua opera",Acta Historiae Artium. Academiae
Scientiarum Hungaricae, XXXWj 1989, pp. 107-110 (pubi, in 1990); L arte per i papi e per i principi
nella campagna romana: grande pittura del’600 e del’700. Palazzo Venezia, Roma 1990, pp.42M4,
49-52; H.Ph.Riedl, E. Schleier, “Ein unbekanntes Hochaltarbild Antiveduto della Grammaticas in
Todi und weitere Neuzuweisungen”, Pantheon, L, 1992, pp.61-73; E. Nyerges, A. Szigethi, in:
L’Europa nella pittura nel XVII secolo. 80 capolavori dai musei ungheresi, exhib.cat., Palazzo della
Permanente, Milano 1993, pp.98-102; Papi, in: R. Contini, G.Papi, Giovanni Serodine
(1594/1600-1630) e i precedenti romani, exhib. cat. Rancate, Lugano 1993, pp.138-149; Riedl,
„Ein wiedergefundenes Doppelbildnis der Heiligen Praxedis und Pudentiana von Antiveduto della
Grammatica”, Mitteilungen des Kunsthistorischen Institutes in Florenz, XXXVII, 1993, 1,
97