AFAT. Rivista di Storia dell’arte fondata nel 1975
Abstract
In the second half of the seventeenth century the iconographic policy of Venice experiences a deep change: the civil portraiture replaces the symbolic image of the Republic. This change is clearly visible in the ‘Patria del Friuli’ by the analysis of Busts: the venetian koinè, exported in Friuli through the examples of Alessandro Vittoria, Francesco Segala and Giulio Del Moro, affects the works of some local sculptors as Girolamo Paleari and Lombardo del Sole. This production, which lasts for a century (1578-1682), is displayed by twenty-six Busts of venetian Lieutenants and Governors, allocated in the towns of Udine, Cividale del Friuli and Marano Lagunare. We can divide this production in two modes: a ‘Prima maniera’, subject of this contribution, whose strict and severe style combines an artistic influence from the venetian language with a local primitivism, datable between the Bust of Marco Corner (1578) in the Castle of Udine and the Bust of Nicolò Grandenigo (1620) on the Tower of Marano Lagunare; and a second mode, related to a baroque style, between the Monument to Nicolò Mocenigo (1643) inside the Loggia of Lionello in Udine and the Bust of Domenico Mocenigo (1682) in Cividale del Friuli.
