Un ritratto perduto di padre Giambattista Martini e una lettera di Antonio Crespi per Maria Antonia di Sassonia

Thomas Liebsch

doi:10.60923/issn.2240-7251/22839

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Thomas Liebsch Università di Dresda

Thomas Liebsch obtained his PhD from the University of Dresden in 2005, with a thesis on the work of the Bolognese painter Stefano Torelli, published in 2007. His research interests mainly concern 18th-Century Painting in Dresden under Augustus III, King of Poland and Elector of Saxony. He has devoted numerous articles published in Italian and German journals, essays in exhibition catalogues and contributions to international conference proceedings to this field, focusing in particular on cultural exchanges between Dresden and Italy, and Dresden and Russia, with a special emphasis on the study of archival sources, the history of collecting and the formation of the art collections of the Saxon sovereigns.

DOI:

https://doi.org/10.60923/issn.2240-7251/22839

Keywords:

Antonio Crespi, Father Giambattista Martini, Maria Antonia of Saxony, Eighteenth-Century Bolognese Painting, Portraiture

Abstract

This contribution presents an episode that bears witness to the cosmopolitan culture of Eighteenth-Century Bologna: it focuses on a portrait of the Bolognese musicologist and Franciscan friar, Father Giambattista Martini, painted by Antonio Crespi. Once kept in Magdeburg, but now lost, the painting is plausibly linked to an unpublished letter sent by the painter to Princess Maria Antonia of Saxony, in which he mentions the commission for a portrait of the Bolognese friar, requested from Crespi by the electoral princess during her stay in Bologna during her trip to Italy (1772).

A Lost Portrait of Father Giambattista Martini and a Letter from Antonio Crespi to Maria Antonia of Saxony

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