«Вознесение Девы Марии» Пьетро Перуджино из алтарной композиции для церкви Сантиссима-Аннунциата во Флоренции: метод работы мастерской и репутация живописца

Abstract

The Assumption of the Virgin (1505–1507), created by Pietro Perugino for the altar of theSantissima Annunziata Cathedral in Florence, was, according to Giorgio Vasari, a very painful episode in the career of the master. Younger colleagues of Perugino claimed that he used for this composition some figures that they had already met in his other works. After this incident, the artist did not get a single large order either in Florence, or in his native Perugia. It is worth saying that Perugino borrowed the creative method of reusing cartoons from his teacher Verrocchio and successfully applied it throughout his career. Seldom attention is paid to this Florentine tradition as a clue to the artistic apprenticeship in a workshop; it is often used to separate some groups of monuments. In this case, the source of citation was the altar of the Church of San Pietro in Perugia (1496–1499, Lyon Museumof Fine Arts), which was also used in other works of Perugino’s workshop.The article is aimed at the problem of reusing compositions created in different Renaissance workshops. The study of the changes in these compositions sheds light on Pietro Perugino’s oeuvre and on changes in the artistic taste at the turn of the 15th–16th centuries.