BRUSAFERRO, Girolamo. Bozzetto preparatorio per la pala d’altare del Duomo di Piove. “Santa Teresa d’Avila trafitta dall’Angelo con i Santi Carlo Borromeo, Francesco e Andrea.”Prima metà del XVIII secolo Olio su tela con cornice; 36x43 cm. Bell’esemplare. Bozzetto preparatorio per il dipinto della pala d’altare del Duomo di Piove (Padova). L’opera venne commissionata all’artista veneziano Girolamo Brusaferro nel 1729 e ultimata l’anno successivo.La pala raffigura Santa Teresa d’Avila in estasi, genuflessa e con le braccia aperte, mentre un angelo le trafigge il cuore con una freccia. In piedi, dietro la santa, San Carlo Borromeo, raccolto in meditazione, e San Francesco mentre contempla il crocifisso, avvolto da una spirale di nubi. In alto, ammantato dalle nuvole e attorniato da putti, Sant’Andrea, appoggiato alla croce, simbolo del suo martirio.Colpisce la grande fedeltà del bozzetto iniziale con l’opera compiuta, in cui si può notare un piccolo ripensamento sulla posizione delle braccia di San Carlo Borromeo, posizionato poco sopra l’angelo. Nel bozzetto, infatti, il movimento è più pronunciate, con le mani tese in avanti. Nella stesura definitiva, l’artista preferisce conferire al santo un movimento di maggiore riserbo e umiltà.Tieto, P. La Pala di Santa Teresa nel Duomo Abbaziale di Piove. In “Padova e il suo Territorio” n. 86, Agosto 2000. Pp. 16-17.
Condition Report
Oil on canvas, framed; 36x43cm. Fine specimen. Preparatory sketch for the painting of the altarpiece of the Cathedral of Piove (Padua). The work was commissioned to the Venetian artist Girolamo Brusaferro in 1729 and completed the following year.The altarpiece depicts Saint Teresa of Avila in ecstasy, kneeling and with open arms, while an angel pierces her heart with an arrow. Standing behind the saint are San Carlo Borromeo, recollected in meditation, and San Francesco contemplating the crucifix, wrapped in a spiral of clouds. At the top, cloaked in clouds and surrounded by cherubs, is Saint Andrea, leaning on the cross, symbol of his martyrdom.The great fidelity of the initial sketch with the completed work is striking, in which one can notice a small rethinking of the position of the arms of San Carlo Borromeo, positioned just above the angel. In the sketch, in fact, the movement is more pronounced, with the hands extended forward. In the definitive draft, the artist prefers to give the saint a movement of greater reserve and humility.
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