Prékopa Ágnes (szerk.): Ars Decorativa 32. (Budapest, 2018)
Miklós GÁLOS: An Antonio Tempesta Rediscovered in the Collection of the Museum of Applied Arts, Budapest
internationalen Architektur- und Kunstgeschichte, 26), Petersburg, 2005 (hereafter: Leuschner 2005) deals with Tempesta’s commissions, his artistic environment, the different aspects of his career and his print work. A comprehensive treatment of Tempesta’s paintings on stone is found in Lohff 2015. On Aby Warburg’s interest in Tempesta, see Leuschner 2005, pp. 562-582. 11 Leuschner 2005, p. 24 and p. 475. Collomb, Anne- Laure: La peinture sure pietre en Italie 1530-1630. PhD diss. Université Lumiére Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/ collomb_al#p=o&a=top (accessed 21 November 2017; hereafter: Collomb 2006), No. 67; Seifertová, Hana: Malby na kameni - Painting on Stone. Praha, 2007, p. 120; Lohff 2015, Cat. 2.1, pp. 186-187. 12 Exhibition ’Une image peut en cacher une autre: Arcimboldo, Dali, Raetz.’ Paris, Galeries nationales Grand Palais, Champs-Élysées, 8 April - 6 July 2009. Catalogue by Jean-Hubert Martin, Cat. 84. 13 The size of the work: 40.5 x 61.5 x 7.7 cm; the size of just the image field: 23.5 x 43.5 cm. The size of the stone support: 26.5 x 46.5 cm; thickness: between 0.9 and 1.5 mm. 14 The bear standing on the cliff at the right edge of the painting again only became clear later, after cleaning. 15 There were other influences in addition to Raphael’s. The seated figure of a mother in the foreground of Crossing the Red Sea refers back to Correggio’s La Zingarella (Naples, Museo Nazionale di Capodimonte). I am indebted to my consultant editor, Vilmos Tátrai, for supplying the concrete analogies. 16 Concerning as well the animal depictions as the figure groups there are numerous analogies in Tempesta’s graphic oeuvre. The most fitting examples can be seen on the etching The Golden Age (Bartsch XVII.179.1329). 17 X-ray and thermoanalytical examinations of the sample were performed at the Budapest Technical University. 18 Vasari, Giorgio: Le vite deypiü eccellentipittori, scultori ed architettori. Firenze, 1550 and 1568. Ed. Milanesi, Gaetano, 9 vols., Firenze, 1906, vol. 5, p. 579. 19 Barry, Fabio: ’“Painting in Stone”: Early Modern Experiments in a Metamedium.’ In: The Art Bulletin, 99 (2017) 3, pp. 30-61. 20 Lohff 2015, p. 64. 21 The subject was also depicted by Tempesta’s fellow Augsburg painters using stone as a medium, such as Anton Mozart (Vienna, Kunsthistorisches Museum, Inv. AM Pa 737, on alabaster) and Johann König (Uppsala, Gustavianum, inv. no. 66, on alabaster) see Lohff 2015, pp. 75-76. 22 In addition to the Budapest paintings: Rome, Galleria Doria Pamphilj (alabaster, signed); Milan, Collection Giulini (alabaster, signed); Madrid, Palacio Real (alabaster), private collection (red marble, Lohff 2015 cat. 2.2); private collection (breccia, Lohff 2015 cat. 2.3). 23 Paris, Musée du Louvre, Départment des Ob jets d’art, MR suppl. 243. 24 Lohff 2015, pp. 58-59. 25 Lohff 2015, cat. 3.3. Presently in a private collection. 26 Publications contain only this one piece of information the size of the painting from the Di Castro collection, thus leaving open the question of whether the frame is included in the measurements. According to information kindly disclosed by Alberto Di Castro, the dimensions refer to the image field only; the frame’s measurements were not recorded (letter to the author from Alberto Di Castro dated 6 September 2017). 27 Sframeli, Maria et al. (ed.): Lapislazzuli. Magia del hlu. Exh. Cat. Firenze, Palazzo Pitti - Museo degli Argenti, Livorno, 2015 (hereafter Sframeli 2015), Cat. 77 (Maria Sframeli), p. 344. 28 In a letter from Andrea Cioli, secretary to Grand Duke Cosimo, to Piero Guicciardini: Illustrissimo e Eccellentissimo mio Signore Osservandissimo, essendo il Serenissimo padrone stato oggi fra gli altri regalipresentato da monsignore Strozzi d'un hel quadro di lapislazzeri figurato di pescagioni e fatto 31
