Quattro dipinti ad Avellino nei rapporti con la pittura lombarda

Abstract

The current paper describes the relationships that took place in Irpinia with Lombard painting during the second half of the sixteenth century through the descriptive, aesthetic, stylistic and iconographic attribution of four paintings from Avellino. This study highlightes the role of promoting these relationships carried out by the Caracciolos and the Carafaes in Avellino (especially by Prince Marino Caracciolo and his wife Cristostoma Carafa), by the bishop of Avellino Albertini, Lombard. They favored the transition from the first to the second mannerism in the South of Italy with their refined taste in the choice of painters to whom entrust the commission of the works and with the alternation of typically Neapolitan authors (such as Silvestro Buono and Bernardo Lama) with the Flemish painters.