The book identifies a very particular genre of painting, that of the "deschi da parto" or painted trays that made their appearance in the early fifteenth century at the high-ranking families of the Florentine society at the time of their first child birth. These "everyday objects" painted on the back often with the insignia of the families of the two spouses, served to put food and gifts to be offered to the new mother. The research around these painted tables, as a category of objects, had never been approached after the initial cataloging by E. Münz in the late nineteenth century. It was followed and supported by the essential mastery of two art historians and great experts, Federico Zeri and Miklòs Boskovits. Because of their characteristic of "objects" no larger than 70 cm in diameter, even if valuable their dispersion around the world has been great and uncontrollable. The constitution of the corpus of the "deschi da parto" has been reconstructed through the information of the mentioned collections in the nineteenth century, and the following transfers of property up to the current locations also used Italian and foreign photo libraries such as those of Villa I Tatti and the Kunsthistorisches Institut in Florence , the Courtauld Institute in London and some Italian superintendencies. The catalog of 77 works reached, ordered with a chronological attribution also sheds light on a number of topics related to it: the beginning of secular painting, the religion secularism, the private sphere of the affections with its ceremonies, the focus on woman at the time of her generativity, warnings and ethics that are implied in iconographic themes with reference to a society in rapid evolution and the rise of the new blazoned bourgeoisie in Florence. The scientific catalog also noted the high quality of some painted tables belonging to artists such as Masaccio, Francesco del Cossa, Sodoma or Pontormo, but especcially the presence of an elegant late Gothic and pre-Renaissance painting, as a forge of narrative inventions of great beauty. In June 1999 the book received the Prize Salimbeni for history and art criticism, XVII ed.
Il volume individua un particolarissimo genere pittorico, quello dei “deschi da parto” o vassoi dipinti che nella società fiorentina del primo Quattrocento fanno la loro comparsa presso le famiglie altolocate al momento della nascita del primo figlio. Tali “oggetti d’uso”, dipinti sul retro, e sul verso dove spesso comparivano le insegne delle due famiglie degli sposi, servivano a posare doni e cibarie da offrire alla puerpera. La ricerca attorno a queste tavole dipinte, come categoria di oggetti in sé, non era mai stata affrontata dopo l’iniziale catalogazione di E.Münz alla fine dell’Ottocento. Essa è stata seguita e confortata dall’ imprescindibile maestria di due storici d’arte e grandi conoscitori, Federico Zeri e Miklòs Boskovits. Per la loro caratteristica di “oggetti”, pur preziosi, non più grandi di 70 cm di diametro, la loro dispersione in tutto il mondo è stata grande e incontrollata. La costituzione del corpus dei “deschi da parto” ricostruito attraverso le indicazioni delle collezioni indicate nell’Ottocento, i successivi passaggi di proprietà fino alle attuali collocazioni si è servita anche di fototeche italiane e straniere come quelle di Villa I Tatti del Kunsthistorisches Institut a Firenze, del Courtauld Istitute a Londra e di alcune soprintendenze italiane. Il catalogo di 77 opere raggiunto, ordinato con un criterio cronologico attributivo fa luce anche su una serie di argomenti ad esso connessi: l’inizio della pittura profana, della secolarizzazione religiosa, la sfera degli affetti privati con le sue cerimonie, l’attenzione rivolta alla donna nel momento della sua generatività, i moniti e l’etica che sottendono ai temi iconografici in riferimento alla società in veloce evoluzione e all’ascesa della nuova borghesia blasonata fiorentina. Il catalogo scientifico ha rilevato anche la qualità pittorica altissima di alcune tavole appartenenti ad artisti quali, Masaccio,Francesco del Cossa, il Sodoma o il Pontormo, ma perlopiù la presenza di una raffinata pittura tardo gotica e prerinascimentale, quale fucina d’invenzioni narrative di grande bellezza. Il libro ha ricevuto il Premio Salimbeni per la storia e la critica dell’arte, XVII ed., nel giugno 1999.
De Carli Sciume, C., I “deschi da parto“ e la pittura del primo rinascimento toscano, Allemandi, Torino 1997: 254 [http://hdl.handle.net/10807/36583]
I “deschi da parto“ e la pittura del primo rinascimento toscano
De Carli Sciume, Cecilia
1997
Abstract
The book identifies a very particular genre of painting, that of the "deschi da parto" or painted trays that made their appearance in the early fifteenth century at the high-ranking families of the Florentine society at the time of their first child birth. These "everyday objects" painted on the back often with the insignia of the families of the two spouses, served to put food and gifts to be offered to the new mother. The research around these painted tables, as a category of objects, had never been approached after the initial cataloging by E. Münz in the late nineteenth century. It was followed and supported by the essential mastery of two art historians and great experts, Federico Zeri and Miklòs Boskovits. Because of their characteristic of "objects" no larger than 70 cm in diameter, even if valuable their dispersion around the world has been great and uncontrollable. The constitution of the corpus of the "deschi da parto" has been reconstructed through the information of the mentioned collections in the nineteenth century, and the following transfers of property up to the current locations also used Italian and foreign photo libraries such as those of Villa I Tatti and the Kunsthistorisches Institut in Florence , the Courtauld Institute in London and some Italian superintendencies. The catalog of 77 works reached, ordered with a chronological attribution also sheds light on a number of topics related to it: the beginning of secular painting, the religion secularism, the private sphere of the affections with its ceremonies, the focus on woman at the time of her generativity, warnings and ethics that are implied in iconographic themes with reference to a society in rapid evolution and the rise of the new blazoned bourgeoisie in Florence. The scientific catalog also noted the high quality of some painted tables belonging to artists such as Masaccio, Francesco del Cossa, Sodoma or Pontormo, but especcially the presence of an elegant late Gothic and pre-Renaissance painting, as a forge of narrative inventions of great beauty. In June 1999 the book received the Prize Salimbeni for history and art criticism, XVII ed.
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