This essay is the result of a research that lasted several years. It is an articulated monographic contribution on the Flemish painter Hector Crucer (1559/60 ca.-post 1620), active in Naples between the end of the 16th century and the first three decades of the 17th century. It is divided into three parts: a historical-critical commentary on an essay by Giovanni Previtali (1988), republished in the last part of the magazine; a precise ‘critical fortune’ of the painter; an attempt to define the biographical profile of the Crucer, based on the documentary register reported in the Appendix. The essay attempts to define also the corpus of Crucer’s paintings, the chronology of his works, the network of his clients and it adds new reflections and some proposals for his catalog, including a Gesù Bambino coi simboli della Passione at the Capuchin Museum in Milan.

Giovanni Previtali e l’importanza delle fonti documentarie per la ricerca storico-artistica. Hector Crucer, pittore fiammingo (Anversa? 1559/60 ca.-Napoli post 1620)

cleopazzo
2021

Abstract

This essay is the result of a research that lasted several years. It is an articulated monographic contribution on the Flemish painter Hector Crucer (1559/60 ca.-post 1620), active in Naples between the end of the 16th century and the first three decades of the 17th century. It is divided into three parts: a historical-critical commentary on an essay by Giovanni Previtali (1988), republished in the last part of the magazine; a precise ‘critical fortune’ of the painter; an attempt to define the biographical profile of the Crucer, based on the documentary register reported in the Appendix. The essay attempts to define also the corpus of Crucer’s paintings, the chronology of his works, the network of his clients and it adds new reflections and some proposals for his catalog, including a Gesù Bambino coi simboli della Passione at the Capuchin Museum in Milan.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11587/472150
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