Giuseppe Varotti a Coimbra

Daniele Benati

doi:10.60923/issn.2240-7251/23716

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Daniele Benati Università di Bologna

Daniele Benati – Graduated in Bologna with Carlo Volpe, he taught at the Universities of Udine, Chieti-Pescara and, from 2007 to 2025, as Full Professor of Modern Art History at the Alma Mater University of Bologna. He specialises in painting from the 14th to the 17th century, with particular attention to the 14th century in Bologna and Rimini, the Renaissance and late Mannerism in Bologna, the Carracci family and their followers. He has published monographs on Jacopo Avanzi, Angelo and Bartolomeo degli Erri, Francesco Bianchi Ferrari, Alessandro Tiarini and still life painting in Emilia and Romagna. Among the exhibitions he has curated are those on 14th-century Rimini (Rimini 1995), Guido Cagnacci (Rimini 1993, Forlì 2008), Annibale Carracci (Washington 1999, Bologna - Rome, 2007), Alessandro Tiarini (Reggio Emilia 2001), Melozzo da Forlì (Forlì 2011), Giovanni da Modena (Bologna 2015), Piero della Francesca (Forlì 2016), Art in the Counter-Reformation period (Forlì 2018), Guercino (Piacenza 2017, Cento 2019) and the 18th century Art in Bologna (Ajaccio 2024). From 2009 to 2012, he directed the Department of Visual Arts at the University of Bologna. Since 2014, he has been Vice-President of the Fondazione Roberto Longhi in Florence and a member of the Scientific Committee of the Fondazione Federico Zeri at the University of Bologna. He is a member of the Accademia delle Scienze of Bologna and the Deputazione di storia patria per le province di Romagna. He is on the editorial board of the journals «Nuovi studi» and «Paragone».

DOI:

https://doi.org/10.60923/issn.2240-7251/23716

Keywords:

The Clementine Academy of Bologna, Bolognese Barocchetto, Artistic relations between Portugal and Italy, Seminário Maior da Sagrada Família in Coimbra, Gothic revival

Abstract

The attribution to Giuseppe Varotti (1715–1780) of the large altarpiece depicting the Disputation of Jesus with the Doctors in the church of the Seminário Maior da Sagrada Família in Coimbra-previously known only to have been executed in 1753 by a Bolognese painter-testifies not only to the artistic exchanges between Italy and Portugal, but also to the international prestige attained by the Accademia Clementina of Bologna. Varotti’s altarpiece, by one of the most authoritative representatives of the Bolognese ‘barocchetto’, is also notable for its setting of the episode within a building that reproduces the interior of the Basilica of San Petronio.

Giuseppe Varotti in Coimbra

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