Takács Imre – Buzási Enikő – Jávor Anna – Mikó Árpád szerk.: A Magyar Nemzeti Galéria Évkönyve, Művészettörténeti tanulmányok Mojzer Miklós hatvanadik születésnapjára (MNG Budapest, 1991)
TÁTRAI Vilmos: Mesefigura egy Piero di Cosimo festményen?
JEGYZETEK 1 Frizzoni, G.: L'arte italiana nella Galleria Nazionale di Londra. Archivio Storico Italiano 1879, 256.; a tanulmány másodközlése: Frizzoni, G.: Arte italiana del Rinascimentő. Milano 1891, 248-250.; az idézet heh/e: Giorgio Vasari: Le vite... ed. Milanesi. G. 1906, ristampa Sansoni, IV. kötet, Firenze 1973, 144. 2 Frizzoni tanulmánya után húsz évvel a Musée Condé katalógusában a kép még mindig mint Antonio Pollaiuolo műve szerepelt: Gruyer, F. A.: Notices des Peintures. Paris 1899, 22, no. 13. 3 Zeri, F.: Rivedendo Piero di Cosimo. Paragone 115 (1959) 44-^5. 4 Bacci, M.: Piero di Cosimo. Milano 1966, 67.: Bacci, M.: L'opéra compléta di Piero di Cosimo. Milano 1976, 86, no. 6. 5 Frizzoni, G.: i. m. 1879, 256. 6 Eve Borsook szóbeli közlése in: Bacci, M.: i.m. 1966, 67. 7 Ulmann, H.: Piero di Cosimô. Jahrbuch der preussischen Kunstsammlungen 17 (1896) 136-137. 8 Alazard, J: The Florentine Portrait (első kiadás 1948). New York 1968, 85. 9 Bacci, M.: i. m. 1966, 67.; Bacci, M.: i. m. 1976. 86, no. 6. 10 Frizzoni, G.: i. m. 1891, 249.; Knapp, F.: Piero di Cosimo, ein Übergangsmeister von Florentiner Quattrocento zum Cinquecento. Halle 1899, 30.; Van Marie, R: The Development of the Italian Schools of Painting, vol. XIII., Den Haag 1931, 348-349; Morselli, P.: Ragioni di un pittore fiorentino: Piero di Cosimo. L'arte 22 (1957) 145-146. 11 Venturi, A: Storia dell'arte italiana. VII/1. Milano 1911, 701.; Battisti, E: L'Antirinascimento. Bologna 1962, 62, 75, 389.; Grossi, E: Piero di Cosimo e il probléma della conversione al Cinquecento nella pittura fiorentina ed emiliana. Roma 1963, 52. 12 Battisti, E: i. m. 1962, 62. 13 Venturi, A: i. m. 1911, 701.; Lipman, J.: The Florentine Profile Portrait in the Quattrocento. The Art Bulletin 18 (1936) 91.; Grossi, E: i. m. 1963, 52. 14 Tolnay, Ch.: La Résurrection du Christ par Piero della Francesca. Gazette des Beaux-Arts 43 (1954) 39. 15 Giovan Francesco Straparola: Le piacevoli notti. A cura di Rua, G. 1. kötet, Bari 1927,127-137., magyarul Csantavéri Júlia fordításában jelent meg „Liliomszép és Aranyszívű" címmel in: A rettentő Kukkubeusok. Régi olasz elbeszélők. Válogatta, a szöveget gondozta, a jegyzeteket írta Herczeg Gy. 2. kötet, Budapest 1983, 216-225. 16 Rua, G: Intorno alle „Piacevoli notti" dello Straparola. Giornale storico della letteratura italiana. Vol. XV., 1890, 115, 126, 127; Vol. XVI., 1890, 231-232. 17 A teljes Vasari-idézet ugyanis így szól (G. Vasari, i. m. IV. kötet, 1973,144.): „Molti furono i discepoli di costui, e fra gli altri Andrea del Sarto, che valse per molti. Il suo ritratto s'è avuto da Francesco da San Gallo, che lo fece mentre Piero era vecchio, come molto suo amico e domestico: il quai Francesco ancora ha di mano di Piero (che non la debbo passare) una testa bellissima di Cleopatra con uno aspido awolto al collo, e due ritratti, l'uno di Giuliano suo padre, l'altro di Francesco Giamberti suo avolo, che paion vivi." A FOLK TALE FIGURE IN A PIERO DI COSIMO PAINTING? The first, and last, truly important date in the fortuna critica of the enigmatic profile portrait in the Chantilly Musée Condé is 1879. This was the year when Gustavo Frizzoni published his study on the Italian panting in London's National Gallery. In it he asserted that the picture, then owned by Due d'Aumale, was almost certainly identical with the one Vasári described at the end of his biography of Piero di Cosimo in the following words: "il quai Franceso ancora ha di mano di Piero (che non la debbo passare) una testa bellissima di Cleopatra con un aspide awolto al collo..." 1 Erlier attributed either to Pollaiuolo or to Botticelli, 2 the picture was then finally included in the catalogue of Piero di Cosimo's known and extant works, after confirmation by stylistic criticism. After that, only the identity of the portrayed lady and the chronological place of the picture were points of contention. Nearly all the creative periods of the painter were proposed for the dating. As for me, I am convinced by the authority of Federico Zeri 3 and Mina Bacci 4 , the latter of whom devoted two monographs to the oeuvre of Piero di Cosimo, that the Chatilry picture is an early work from the 1480s, still showing signs of the influence of Filippino Lippi. As for the identity of the woman, there is only a negative consensus among the researchers: notably, that it was not painted after a model, either directly or indirectly, through the mediation of a painting, statue or medal. The nudity of the woman, which was impossible in the Florentine portrait painting of the period, the veil of Oriental design, the necklace intertwined with a serpent, and last but not least, the close similarity of the face to a frequent female type of Piero di Cosimo's mythological and religious works all indicate that the picture represents an ideal, that the primary subject-matter and content of the painting is female beauty. This glorification of beauty is, however, definitely associated with a certain female figure of mythology. The question to be answered is: Who is this mythic female figure?
