6533b81ffe1ef96bd12771ef

RESEARCH PRODUCT

Lucrècia Borja. L'alteració d’una identitat i l’errònia atribució de la pintura de Flora de Bartolomeo Veneto

subject

description

Resum: Aquest treball preten emfatitzar l’erronia identitat que ha arribat fins als nostres dies de Lucrecia Borja i l’equivocada atribucio que se n’ha fet d’alguns retrats. Com ara, la pintura de Flora (c.1520), pintada per Bartolomeo Veneto, que ha passat a la historia com una indissoluble identificacio de Lucrecia. Els estudis actuals han demostrat que representa un model ideal influit pel context literari probablement relacionat amb Pietro Bembo. Durant el Renaixement, els retrats representen molt mes que una identitat concreta i mimetica. Son suports de prestigi i transmissio ideologica, de virtuts morals, memoria, etc. En l’ambit artistic venecia de principis del segle XVI sorgeixen multiples retrats femenins de dificil identificacio que la critica frequentment ha relacionat amb cortesanes, amants, dones. Moltes, pero, representen ideals poetics a traves dels quals la pintura demostra la seva capacitat de rivalitzar amb la poesia quant a demostracio de l’ideal estetic de la bellesa. Aquest breu treball preten examinar les successives interpretacions historiografiques que erroniament han identificat la pintura de Flora amb Lucrecia Borja a causa del valor erotic pejorativament relacionat amb ella, pero tambe vol posar emfasi en les altres propostes que han permes que l’obra sigui interpretada amb l’exegesi mes adequada. Paraules clau: Lucrecia Borja, Pol Coronado, Retrat, Bartolomeo Veneto, Flora Abstract: This study intended to emphasize the identity has been wrong that has reached our days of Lucrezia Borgia and the wrong attribution has been made of some pictures. One of the most paradigmatic paintings is Flora (c.1520), painted by artist Bartolomeo Veneto. This work has gone down in history as one indissoluble portrait of Lucrezia, but recent studies have shown represents an ideal model influenced by the literary context probably related to Pietro Bembo. During the Renaissance, portraits represent much more than a specific and mimetic identity. They are supports of prestige and ideological transmission, of moral virtues, memory, etc. In the Venetian art scene of the early sixteenth century, multiple female portraits often difficult to identify that criticism have related courtesans, mistresses, wives. Many of these paintings also represent poetic ideals through which painting demonstrate its ability to compete with poetry in terms of demonstrating the aesthetic ideal of beauty. This short paper aims to examine the successive historiographical interpretations erroneously identified the painting of Flora with Lucrezia Borgia due to the erotic value related to her pejoratively, but also wants to highlight other proposals that have allowed the work to be performed with the most appropriate exegesis. Keywords: Lucrezia Borgia, Pol Coronado, Portrait, Bartolomeo Veneto, Flora