5780-2005 Newsletter-v6.indd - Save Venice Inc

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Purification of the Virginby Giuseppe Porta SalviatiMeri GalloMeri GalloGiuseppe Porta was born in Tuscanyaround 1520 and arrived in Venice in1539 with his teacher, Francesco Salviati,whose last name he eventually assumed.Giuseppe Salviati, as he came to becalled, was instrumental in bringing toVenice the style known as Mannerism,which had been developed in centralItaly by the followers of Michelangeloand Raphael. Salviati spent the rest ofhis career in Venice, executing commissionsfor the Venetian government(particularly in the Doge’s Palace andthe Marciana Library) and for privatefamilies in some of the most prestigiouschurches of Venice.His style is distinguished by a blendof Roman Mannerism, seen primarilyin elongated anatomies and extravagantposes, and Venetian coloring, inwhich the artist employs many layersand patches of paint to create luminoustonalities and dramatic chiaroscuro. Salviatihad an important influence on Tintoretto,Veronese, and Palma il Giovane.This large altarpiece is consideredGiuseppe Porta Salviati’s masterpieceand has been dated to around 1548. Itstill stands on the altar of the Valierfamily, who commissioned it for theright side of the nave of the Church ofthe Frari. It depicts the Purification ofthe Virgin, a ceremony in which motherswere purified after giving birth byoffering to the temple two turtle dovesfor sacrifice. The doves and the infantChrist in the arms of the high priestSimeon occupy the center of the canvas.This painting is also sometimesreferred to as the Presentation of Christin the Temple, an event that took placeat the same time as the purification.The foreground of the painting containsthe looming figures of Saints Paul,Helen, Augustine, Nicholas, Bernardino,and Mark. The powerful, striding figureof Paul bearing the sword offers a strikingexample of Salviati’s elegant figure types.It was a typical Mannerist deviceto relegate the main action to the backgroundof the composition. In this painting,the artist has combined in an interestingmanner a narrative scene in thecenter with a static grouping of saintsbelow, probably both to fill the verticalfield of the canvas and to incorporatethe name saints of the Valier family.Under the direction of Grazia Fumoof the Superintendency of Monumentsand Fine Arts of Venice, the AndreaLibralesso conservation firm cleanedand restored the Purification of the Virgin,returning the glowing color and subtlepassages that mark this painting as agreat work of the Venetian sixteenth century.The Boston Chapter of Save Venicesponsored the restoration.The restored altarpiece of the Purificationof the Virgin by Giuseppe Porta Salviati,commissioned by the Valier family for theright side of the nave of the Church ofthe Frari.Meri GalloLeft: Detail of Saints Paul, Helen, and Augustine.Top Right: Detail of the high priest Simeonholding the infant Christ.Middle Right: Detail of embroidery ofSt. Nicholas’ mantle.Bottom Right: Detail of the Virgin Mary.Meri GalloMeri Gallo6 7
Saint Helen Altarpiece byMichele di MatteoThis magnificent altar painting is themasterpiece of Michele di Matteo, apainter from Bologna, active from 1410to 1469. For centuries, it decorated analtar dedicated to St. Helen (the motherof the Emperor Constantine) in themonastery of Sant’Elena, at the far easternend of Venice. The painting wasprobably commissioned between 1430and 1437, when Michele was workingin Venice, by the monastery’s prior,Fra Bernardo de’ Scapi, who also camefrom Bologna.The polyptych, or multi-compartmentalpainting, features a tender VirginMary and infant Christ in the center ofthe lower register, flanked by Saints Lucy,Helen, Mary Magdalene, and Catherineof Alexandria. Under St. Catherine’s feet,the artist’s signature can be seen.An animated and emotional depictionof the Crucifixion occupies the centerof the upper row of paintings andis flanked on either side by the fourEvangelists: Matthew, Mark, John, andLuke. Small depictions of Christ andsixteen saints adorn the band separatingthe two registers.The predella, or lowest tier, featuresfive scenes of St. Helen locating the TrueCross and the miracles associated withthis relic. Much of the painting is executedwith remarkable precision, and theartist’s generous use of precious goldleaf indicates that it was an importantcommission.The altarpiece is now housed in theimposing first room of the AccademiaGalleries. The Young Friends of SaveVenice, Boston Chapter, sponsoredits conservation, which was directedby Giulio Manieri Elia of the VeniceSuperintendency of State Museumsand carried out by Lucia Tito and theCBC conservation firm. They cleanedand stabilized the wooden panels thatcompose the polyptych, as well asthe painting’s original gilded woodenframe. Conservators restored the delicatepictorial surface and brought backthe original splendor of this fifteenthcenturymasterpiece.Top: The Saint Helen Altarpiece, before restoration,by Michele di Matteo in the Accademia Galleries.Below: Details from the Crucifixion, before andafter restoration.Right: Detail of the Virgin Mary, after restoration.All images of the Saint Helen Altarpiece byMichele di Matteo were reproduced with thepermission of the Ministero per i beni e leAttività Culturali.Matteo De FinaMatteo De Fina9Matteo De Fina8 9
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5780-2005 Newsletter-v6.indd - Save Venice Inc

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