Tela, tavola, tipologia e tecnica nei Crivelli

Abstract

This contribution seeks to contextualize the choice for the support in Carlo Crivelli’s Madonna Buonaccorsi fo Carlo Crivelli: canvas, which is very rare in the oeuvre of Carlo as well as that of his brother Vittore. A painting on canvas of this period is not automat-ically a gonfalone to be carried in processions, as has been said in the past. Actually, the functions of paintings on canvas could vary widely. Some typologies could be executed either on panel or on canvas, such as pictures of the Virgin with the Child enthroned (as, presumably, the Madonna Buonaccorsi in its original state) or full-length images of saints, such as Vittore Crivelli’s Blessed Giacomo della Marca (Urbino, Galleria Nazionale delle Marche). Since the latter typology is rather simple, the functional possibilities may vary. Around 1500 the use of canvas was well established in the Marches (and elsewhere). According to Vasari the major advantage of paintings on canvas was that they could be transported easily. This may have been the case with the Madonna Buonaccorsi, and per-haps also with the Madonna of Mercy in the Santuario della Madonna della Misericordia in Macerata, possibly the work Antonio Solario. At any rate, both canvases are to be dinguished from processional gonfaloni on canvas that are double-sided. Still, the rarity of canvas as a support in the oeuvres of the Crivelli needs an explanation. It is quite possible that the preference for panel was motivated by the technical and esthetic advantages of this support, such as the application of brilliant colours, and the tooling of gold backgrounds. On the other hand, quality of execution is also a factor to be considered. The Madonna Buonaccorsi and the Blessed Giacomo della Marca may be rare in the work of the Crivelli brothers, but they are quite accomplished technically and stylistically. Vittore’s Crucifixion in Fermo, on the other hand, is more summary (and presumably cheaper) in execution.