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Michele CammaranoDipinto figurativo italiano ritratto di nudo maschile del XIX secolo1860s
1860s
About the Item
Sebbene atteggiato in una delle pose convenzionali adottate in Accademia per l’esercitazione della copia dal nudo, il modello anziano qui ritratto è indagato con tale sensibilità anatomica da farlo ritenere un soggetto indipendente dal tirocinio didattico per essere invece un’accorata meditazione dell’artista su un corpo di austera vecchiezza, analizzato in tutte le sue particolarità senza trascenderle. Indagine che si avvale d’una pittura densa di umori e impostata su equilibrate alternanze di luci ed ombre in grado di far percepire la ruvida complessione dell’anziano modello, ed anche sulla sensibile gamma cromatica intesa a riprodurre nella maniera più aderente al vero la ‘fisiologia’ che per i seguaci del Realismo era il termine che indicava l’antitesi oggettiva alla spiritualità dei puristi. Risulta infatti evidente che il dipinto si inscrive nell’ambito d’una poetica naturalista caratterizzata dai prelievi neoseicenteschi che, a partire dalla metà dell’Ottocento, costituivano il tramite più efficace per immettere nell’arte succeduta alla crisi del Romanticismo gli aspetti anche sconvenienti della realtà, che appunto Caravaggio e i suoi seguaci avevano insegnato ad osservare e ritrarre liberamente. Una traccia interessante, e forse risolutiva, per l’attribuzione del quadro è un disegno raffigurante san Gerolamo correttamente riferito a Michele Cammarano1, in cui sembra di ritrovare lo stesso modello anziano del nostro dipinto più emaciato per alludere ai rigori dell’eremitaggio ma molto somigliante nella fisionomia, tanto da farlo ritenere un modello abitualmente presente nell’atelier dell’artista napoletano, quello stesso che in veste di pezzente (b) è ritratto sullo sfondo di una porta sulla quale è affisso il cartello con la scritta ‘Studio di pittura’.
estratto dell'expertise del professor Carlo Sisi
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