Conhecido essencialmente pelos seus desenhos «cubistas» e pelo seu modo de esquematizar a figura humana, reduzindo as formas às linhas essenciais, Luca Cambiaso revela uma das mais interessantes pesquisas pessoais de toda a tradi- ção do desenho ocidental.
Nascido em Moneglia, pequena localidade a sul de Génova, era filho do pintor Giovanni Cambiaso, do qual recebeu formação como pintor e escultor e com quem trabalhou ao longo de grande parte da sua carreira, envolvendo-se na decoração de diversos palácios e igrejas, por encomenda das poderosas famílias patrícias da dinâmica república de Génova.
A arte de Perino del Vaga, que trabalhou algum tempo em Génova, a dos artistas lombardos e venezianos seus contemporâneos, bem como as de Miguel Ângelo e Rafael, com as quais contactou durante uma deslocação a Roma, influenciaram a fase inicial da sua obra. Na juventude, começou por desenhar elegantes figuras de um gigantismo miguelangelesco, em traços curvilíneos e caprichosos, acentuando os relevos da musculatura ou os efeitos de claro-escuro, como se vê em alguns dos desenhos desta exposição, particularmente no Profeta ou Evangelista sentado sobre nuvens.
Os estudos gráficos ocupavam um papel fundamental no processo criativo de Luca Cambiaso, que registava e laborava continuamente as suas ideias, dando origem a uma abundante produção, bastante coerente nos temas religiosos e mitológicos. Trabalhando essencialmente à pena, à qual juntava aguadas para a obtenção de efeitos de claro-escuro, os seus desenhos dos primeiros anos revelam uma escrita caprichosa e elegante e, já, a sua curiosidade pelas linhas essenciais da construção das figuras.
A partir de década de 1550-1560, o seu trabalho modifica-se, entrando numa fase de procura mais pessoal: estuda a relação das figuras entre si e com o espaço, tendendo, a partir de então, para uma maior definição geometrizante da figura humana, abordada em linhas essenciais e angulosas.
O período seguinte, de 1568 a 1580, corresponde ao apogeu do seu talento: as pesquisas orientam-se para uma extrema simplificação geométrica das formas, que evoluem de forma extraordinária para cubos ou paralelepípedos no caso das diversas partes da figura humana, articulando por este processo os grupos de figuras. Desta fase encontramos nesta sala duas excelentes folhas: Cristo pregado na Cruz, da coleção da Faculdade de Belas-Artes do Porto, e Três cenas da «História do Fabrico do Pão», com o brasão da família Imperiale, da coleção do mnaa.
O convite de Filipe II de Espanha, em 1583, para trabalhar em Madrid e no Escorial (onde realiza o fresco do Paraíso), ainda que breve, pois Luca Cambiaso morreria escassos dois anos depois, acabou por contribuir para a notoriedade do artista e para a projeção da sua obra. O caráter fortemente inovador dos seus trabalhos gráficos teve larga expressão em numerosos continuadores e influenciou mais do que uma geração, numa constelação de situações por vezes difíceis de identificar, mas bem coesas nas características reveladas.
Muitos são os que trabalharam na sua esfera de influência, como o discípulo Giovanni Battista Paggi (Génova, 1554- -1627), que encontramos nesta exposição num expressivo e enérgico estudo para um Apedrejamento de Santo Estêvão, realizado cerca de 1604 para a igreja de Santo Ambrósio, de Génova, cuja folha ostenta uma inscrição atribuindo-o ao mestre Cambiaso (tornando-o assim mais valioso para os colecionadores que procuravam avidamente os seus trabalhos).
O considerável grupo de trabalhos do autor que encontramos em coleções portuguesas, cujos núcleos mais significativos são os das coleções do Museu Nacional de Arte Antiga e da Faculdade de Belas-Artes da Universidade do Porto, aqui expostos, confirma a fama de Luca Cambiaso.
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Known primarily for his “cubist” drawings and for the way he sketched the human figure, reducing forms to their essential lines, Luca Cambiaso developed one of the most interesting personal studies in the entire tradition of Western drawing. Born in Moneglia, a small town south of Genoa, he was the son of painter Giovanni Cambiaso, who trained him as a painter and sculptor and with whom he worked throughout much of his career. He was involved in the decoration of various palaces and churches, commissioned by the powerful patrician families of the dynamic Republic of Genoa. The early phase of his work was influenced by the art of Perino del Vaga, who worked in Genoa for some time, by the art of contemporary Lombard and Venetian artists, as well as the works of Michelangelo and Raphael, which he contacted during a visit to Rome. In his youth, he began by drawing elegant figures of Michelangelesque gigantism in curvilinear and whimsical strokes, accentuating muscle relief or the effects of chiaroscuro as can be seen in some of the drawings in this exhibition, particularly in the Prophet or Evangelist seated on clouds.
Known primarily for his “cubist” drawings and for the way he sketched the human figure, reducing forms to their essential lines, Luca Cambiaso developed one of the most interesting personal studies in the entire tradition of Western drawing. Born in Moneglia, a small town south of Genoa, he was the son of painter Giovanni Cambiaso, who trained him as a painter and sculptor and with whom he worked throughout much of his career. He was involved in the decoration of various palaces and churches, commissioned by the powerful patrician families of the dynamic Republic of Genoa. The early phase of his work was influenced by the art of Perino del Vaga, who worked in Genoa for some time, by the art of contemporary Lombard and Venetian artists, as well as the works of Michelangelo and Raphael, which he contacted during a visit to Rome. In his youth, he began by drawing elegant figures of Michelangelesque gigantism in curvilinear and whimsical strokes, accentuating muscle relief or the effects of chiaroscuro as can be seen in some of the drawings in this exhibition, particularly in the Prophet or Evangelist seated on clouds.
Graphic studies played a key role in Luca Cambiaso’s creative process; he recorded and continuously worked on his ideas, leading to copious drawings which addressed fairly consistent religious and mythological themes. He worked primarily with a quill, which he used with washes to obtain chiaroscuro effects. The drawings from his early years demonstrate a whimsical and elegant style and his curiosity about the essential lines of the construction of figures. After the 1550-1560 decade, his work changed as he entered a more personal research phase, studying the relationship of figures between each other and with space. This lead him, thereafter, towards a more geometrical definition of the human figure expressed in essential and angular lines. The following period, from 1568 to 1580, corresponds to the peak of his talent. His studies were moving towards extreme geometric simplification of forms which evolved in an extraordinary way into cubes, or parallelepiped in the case of the various parts of the human figure. He used this process to articulate groups of figures. We find two excellent examples from this phase in this room: Christ nailed to the cross, from the Porto Faculty of Fine Arts collection, and Three scenes from the “Story of the Baking of Bread” with the Imperiale Family coat of arms, from the mnaa collection.
The invitation from Philip II of Spain in 1583 to work in Madrid and the Escorial (where he produced the Paradise fresco) contributed to the artist’s notoriety and the prominence of his work, albeit briefly since Luca Cambiaso died barely two years later. The highly innovative nature of his graphic work was widely adopted by numerous followers and influenced more than a generation in a constellation of situations that are sometimes difficult to identify yet quite cohesive in the characteristics they display. Among the many who worked in his sphere of influence is his disciple, Giovanni Battista Paggi (Genoa, 1554-1627), whose expressive and energetic study for the Stoning of Saint Stephen forms part of this exhibition. This work on paper was executed around 1604 for the Saint Ambrose church in Genoa and it bears an inscription attributing it to the master Cambiaso (thus making it more valuable to collectors who eagerly sought his work). Luca Cambiaso’s reputation is confirmed by the substantial number of the artist’s works found in Portuguese collections, of which the most significant nucleus are in the Museu Nacional de Arte Antiga and the University of Porto Faculty of Fine Arts collections.
fonte: @edisonmariotti #edisonmariotti http://www.museudearteantiga.pt/
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