Prékopa Ágnes (szerk.): Ars Decorativa 32. (Budapest, 2018)
Miklós GÁLOS: An Antonio Tempesta Rediscovered in the Collection of the Museum of Applied Arts, Budapest
stored, this superb painting, which is certainly the work of Antonio Tempesta, will take its deserved place in his oeuvre. Similarly, we hope this work, once the jewel of Miklós Jankovich’s collection and most likely commissioned by Taddeo Barberini, will become a defining piece in the Budapest Museum of Applied Arts’ exhibition. Among the various types of modern museums, museums of applied arts are in the best position to provide a faithful picture of the 17th-century world of the Kunstkammer through a presentation of pieces that combine natural materials with artistic skill. NOTES 1 Höllrigl, József: ‘Elsheimer Ádám ismeretlen festménye a Magyar Nemzeti Múzeumban. [Adam Elsheimer’s unknown painting in the Hungarian National Museum].’ in Magyar Művészet 11 (1935), pp. 374-381 (hereafter: Höllrigl 1935). 2 We should draw attention to the identification of the material made by Ferenc Schafarzik, professor at the Budapest Technical University, as in recent literature the support material has frequently been described as marble. 3 Höllrigl, József: ‘A hónap műtárgya a Magyar Nemzeti Múzeumban [The object of the month in the Hungarian National Museum].’ In: Magyar Művészet 12 (1936), pp. 115-116. 4 Museum of Fine Arts Budapest, Old Masters’ Gallery, inv. no. 7179. Vilmos Tátrai (ed.): Museum of Fine Arts Budapest. Old Masters’ Gallery. A Summary Catalogue of Italian, French, Spanish and Greek Paintings, London-Budapest, 1991, p. 115. 5 Pigler, Andor: A Régi Képtár Katalógusa [Catalogue of the Old Masters’ Gallery]. Budapest, 1954, p. 388. 6 Czobor, Ágnes: ‘Un tableau d’Antonio Tempesta récemment identifé.’ In: Bulletin du Musée hongrois des Beaux-Arts 20 (1962), pp. 55-60 (hereafter: Czobor 1962). 7 Baglione, Giovanni: Le vite de’pittori, scultori et architetti. Dal pontif cato di Gregario XIII del 1572 in fino a’ tempi di Papa Urbano Ottaco nel 1642. Roma, 1642. Ed. Jacob Hess - Herwath Röttgen, 3 vols. Cittâ del Vaticano, 1995 (hereafter: Baglione 1642/1995), 1, pp. 216-218. 8 Tempesta’s most important painting on stone, the Pearl Diving in India in the Louvre and discussed below, was only attributed, based on archival sources, to Antonio Tempesta in 1986 by Alessandro Cecchi. Lohff, Johanna Beate: Malerei auf Stein. Antonio Tempestas Bilder auf Stein im Kontext der Kunst- und Naturtheorie seiner Zeit (Römische Studien der Bibliotheca Haertziana, 36). München, 2015 (hereafter: Lohff 2015), p. 54. 9 During the trial of the Baglione case, Caravaggio said (13 September 1603): M’é ben scordato de dirvi ehe Antionio Tempesta ancora quello é valent’huomo. Macioce, Stefánia: Michelangelo Merisi da Caravaggio. Fonti e documenti 1532-1724. Roma, 2003,1 Doc. 145, p. 128. 10 Two recent monographs compensate for the lack of a catalogue raisonné. Eckhard Leuschner’s volume Antonio Tempesta Ein Bahnbrecher des römischen Barock und seine europäische Wirkung. (Studien zur 30
