Marcantonio Mainardi (Cremona, c. 1570 – 1629)
Crucifixion with Mary Magdalene and a Franciscan saint
oil on canvas, 93x57 cm
Critical File Prof. Alberto Crispo
The painting in question represents an unpublished testimony of Cremonese painting between the late 16th and early 17th centuries. Although the painting shows stylistic characteristics very close to those of Andrea Mainardi, known as Chiaveghino, the analysis of the pictorial execution allows the work to be attributed to his nephew Marcantonio Mainardi (Cremona c. 1570 – 1629). Compared to his uncle's mastery, Marcantonio here shows a less refined execution and a propensity for more redundant forms. In particular, a plastic emphasis on the bodies and a schematic approach to the drawing of the drapery can be noted, which find precise parallels in his other works, such as the Crucifix and Mary Magdalene in Ospedaletto Lodigiano (executed between 1598 and 1600) and the Madonna "Salus Populi Romani" in Martignana di Po.
Marcantonio Mainardi was born in Cremona presumably around 1570. Son of Francesco Giuseppe, brother of Andrea Mainardi, young Marcantonio trained and lived with his painter uncle. His activity is documented from 1591 and continued with important commissions such as St. George and the Dragon in Casalbuttano (1593) and the decoration of the Hieronymite abbey of Ospedaletto Lodigiano (1598-1600). In 1610 he created the "Consegna della pianeta a Sant’Ildefonso" in Casalmorano and in 1626 the "Martyrdom of Saint Catherine" in Antegnate. He died in 1629, leaving some unfinished works in Polengo.
.The Mainardi family represents a pillar of the Cremonese School, acting as the main heirs and continuators of Bernardino Campi's mastery. Through Andrea's apprenticeship with Campi, the Mainardi workshop was able to transition the elegance of the late Renaissance towards the rigorous demands of the Counter-Reformation. If Bernardino Campi had introduced a formal grace inspired by Raphael, Marcantonio – as this canvas demonstrates – evolved his lesson towards greater volumetric emphasis and plastic robustness, consolidating a style that remained a reference point in the territory until the first thirty years of the seventeenth century.
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