Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2007)

ZSUZSANNA DOBOS: New Additions to the Art and Research of Girolamo Troppa

Gl ROLAMO TROPPA. ADAM AND IIIS FAMILY. BUDAPEST. MUSEUM OE EINE ARES In spite of his considerable artistic output, Troppa had already become a forgotten artist by the eighteenth century, with very few biographical collections making any reference to him. According to Roman archives,

8 he had already settled in the Eternal City by 1656, where, according to Lanzi, he became a pupil of Maratta, whereas Avventi mentions Lazzaro Raldi as his teacher.

9 The hitherto known works reveal more than the written sources: they clearly show that at the beginning of his career Troppa was deeply influenced by Pier Francesco Mola, while later Giovanni Battista Gaulli and Giacinto Brandi also impressed him. Troppa's works demonstrate that he was a master of his craft with a chameleon-like nature, who in a particular work or a period, was able to associate himself with the style of a given leading artist, oscillating between autonomous artist and imitator. At the same time mixing and synthesising borrowed elements was not necessarily his aim. If he had not had a penchant for signing his works, it would have been no easy task to attribute such stylistically unlinked works to him as e.g. the Nativitas in the National Gallery, Dublin, which pays a tribute to Annibale