F. Rossi – Abstract

The analysis of the Triptych of Saint Reparata at Casoli (Chieti), dated 1506 and the only work signed by Antonio da Fossombrone, shows a late-gothic training which is foreign to the ‘humanist’ culture of his birthplace which was part of the Montefeltro Signory. Its roots go back to the previous Malatesta Signory, who were patrons to two more important works of the first half of the 15th Century: The Madonna of the Sun by Bartolomeo di Tommaso, originally in the Church of Saint Augustine and now at the Brera and the frescoes in the Church of Saint Aldebrando, the work of Antonio Alberti (only for The Adoration of the Wise Men) and of his assistant who can be identified perhaps as Gigliolo Bellinzoni (Stories of Saint Aldebrando). The latter also worked under the patronage of the Malatesta at Rovereto di Saltara, assisted by his son Giovan Antonio da Pesaro who then became the greatest late-gothic artist in the area between Pesaro and Ancona. The style would indicate Giovan Antonio as the primary linguistic source of Antonio da Fossombrone, who was a late-comer to painting and who was also exposed to Umbrian influence. Antonio da Fossombrone was an eclectic artist but nevertheless one of quality, whose activity can be found in anonymous works in both the province of Pesaro-Urbino in the Marches as well as the province of Chieti in the Abruzzi.