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Detail: Erri: Bartolomeo degli ERRI (Actif à Modène de 1430 à 1479 ; travaille également pour la famille d''Este près de Ferrare). 31. Saint Thomas d''Aquin à la table du roi saint Louis, Panneau de retable. Peinture à l''œuf sur panneau de bois de peuplier. 44,5 x 31,5 cm (sans le cadre de bois doré et sculpté dans le goût Renaissance). Restaurations. 120 000 / 150 000 e. Provenance: Modène, Église San Domenico jusqu''en 1708-10. Paris, collection Engel-Gros de 1921-1925. Sa vente Paris 1925, P. Ganz, Catalogue raisonné de la collection Engel-Gros, fig. 64 (Maître des histoires de saint Bernardin de la galerie de Pérouse). Collection Émile Parravicini, Château de Ripaille, Thonon (Savoie) et Paris. Vente Parravicini, Paris, Galerie Charpentier, 6 décembre 1952, n° 5 (Domenico Morone). Bibliography: R.C Catroux, "Les collections du château de Ripaille" in Revue d''Art ancien et moderne, XXXIX, 1921, pp. 270-274 (attribué à Bartolomeo Caporali). B. Berenson, "Nove pitture in cerca di un attribuzione" in Dedalo, anno V, vol. III, 1924-1925, pp. 601-642 ; 688-723 ; 745-775, repr. couleurs frontispice (Domenico Morone). B. Berenson, Three essays in method, 1927, p. 2 et sq. W. Suida, "Einige Italienische Gemälde in Landesmuseum zu Brünn" in Belvedere, XIV, 1929, pp. 255-258. B. Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 377 (Domenico Morone). E. Sandberg-Vavalà, "Francesco Benaglio" in Art in America, 1933, XXI, p. 61, n. 12 (Agnolo degli Erri). B. Berenson, Pitture italiane del Rinascimento, 1936 (Domenico Morone). C.L Ragghianti, "Sul problema Erri-Domenico Morone" in Critica d''Arte XIX, 1939, p. I-V, (retrouve un nouveau panneau du retable de Saint Thomas et attribue l''ensemble à degli Erri). R. Longhi, "Officina ferrarese" in Critica d''Arte, IV, 1940, p. 39, n.3, repris dans Edizione delle Opere complete di Roberto Longhi, Vol. V, 1956, pp. 169-170, n.3, p. 185 (accepte l''attribution de Berenson à Domenico Morone). Idem in "Ampliamenti nell ''Officina ferrarese" Supplément à Critica d''Arte 1940 (revient sur l''acceptation à Morone et avance dès lors l''attribution à Bartolomeo degli Erri pour toutes les scènes du retable de Saint Thomas à l''exception de Saint Thomas Prêchant (Washington, n° 547). Idem, L''atelier de Ferrare, traduction française, Brionne 1991, pp. 116, 179 et 193. A.M. Chiodi, "Bartolomeo degli Erri e i polittici domenicani", in Commentari, II, 1951, pp. 17-25 (Bartolomeo degli Erri). M. Salmi, Pittura e miniatura a Ferrara nel primo Rinascimento, Milan 1961. B. Berenson, Italian Pictures of the Renaissance, Central Italian and North Italian schools, Londres 1968, Vol. I, p. 280 (Domenico Morone, cite le tableau encore dans la collection Parravicini). C. Seymour Jr, Early Italian Paintings in the Yale University Art Gallery, New Haven 1970. G. Kaftal, F. Bisogni, Iconography of the Saints in the Painting of North East Italy, Florence 1978, col. 981, fig. 1267 (Bartolomeo degli Erri, suggérant que le panneau la Mort de Saint Thomas à Brno appartient à la série des panneaux du retable de Saint Thomas d''Aquin). F.R. Shapley, Collection S. Kress, Catalogue of Italian Paintings, National Gallery, Washington 1979, p. 10 (appartient à la série de panneaux du retable de Saint Thomas d''Aquin). Christiansen K, in The Metropolitan Museum Bulletin, New York, 1983, p. 21, fig. 17. F. Zeri, E. Gardner, Catalogue of the Metropolitan Museum of Art, New York, Italian Paintings, North Italian Schools, 1986, p. 15 (Bartolomeo degli Erri). O. Pujmanova, Italské Gotické a Renesancni obrazy, Catalogue exposition Prague Galerie Nationale, 1987, p. 41 (Bartolomeo degli Erri). D. Benati in La Pittura in Italia, Il Quattrocento, 1986, Vol. I, p. 268, Vol. II, p. 622 (Bartolomeeo degli Erri). D. Benati, La Bottega degli Erri e la pittura del Rinascimento a Modena, Modène 1988, pp. 69-76, 93-110, p. 169, fig. 76 p. 104. DESCRIPTION et ICONOGRAPHIE La scène se déroule dans la cour d''un palais sous les arcades d''une loggia décorée de tapisseries fleuries ou armoriées du blason de la famille d''Este. Des serviteurs s''affairent auprès de la table où ont pris place, à droite le roi assis sous un dais et de face, saint Thomas et un autre dominicain. Les deux saints sont reconnaissables à l''auréole surmontant leur tête. Au premier plan, un personnage debout, un pied posé sur un tabouret, prend des notes. La légende rapporte que saint Thomas (1225-1274) convié à la table du roi saint Louis, perdu dans ses méditations, ne participe pas à la conversation mais s''écrie soudain : "Ceci est un argument terrible contre les manichéens". Rappelé à l''ordre par son acolyte, Thomas se confond en excuses auprès du roi qui, loin de s''offusquer, ordonne à son secrétaire d''inscrire les arguments du saint qu''il considère comme un génie (cf. Berenson, op. cit., 1924 ; Kaftal, op.cit.). RECONSTITUTION Ce panneau a fait partie du retable dédié à saint Thomas d''Aquin, l''un des quatre retables hagiographiques peints par les frères Angelo et Bartolomeo degli Erri pour l''église San Domenico de Modène et dédiés aux quatre grandes figures dominicaines : les saints Dominique, Pierre Martyr, Thomas d''Aquin et Vincent Ferrier (cf. Benati, op. cit., 1988, pp. 69-75). Vus en 1566 et cités en 1568 par Vasari, puis cent ans plus tard par un érudit local (L.Vedriani, Vescovi Modenesi, Modène1669) mais sans mention d''auteur, ces retables ont été démontés lors de la destruction de l''ancienne église San Domenico de Modène au début du XVIIIe siècle et leurs éléments dispersés aboutirent plus tard dans diverses collections particulières. Ce n''est qu''en 1924-25 que Berenson (op.cit.,) tenta un premier regroupement de certaines scènes ayant appartenu à ces retables; les attribuant en bloc au peintre véronais Domenico Morone connu de 1440 environ à 1517. Pour ce qui concerne le retable de Saint Thomas d''Aquin, l''historien mentionnait six scènes actuellement à : New Haven, Yale University Gallery, L''Enfance de saint Thomas d''Aquin ; New York, Metropolitan Museum n° 23.140, saint Thomas aidé par saint Paul et saint Pierre ; San Francisco, De Young Memorial Museum, collection Kress, K.2055 Vision de Fra Paolino et K 2056 Saint Thomas débattant avec les hérétiques ; Washington, National Gallery n° 547, Un domicain prêchant et celle en question ici. Leur attribution à Morone un premier temps approuvée par la critique dont Roberto Longhi (op. cit.,) fut rejetée peu après par ce dernier et à la suite de Ragghianti (op. cit.,) en faveur des frères Angelo et Bartolomeo degli Erri, peintres documentés à Modène respectivement entre 1430 et 1497 et 1430 et 1479, auteurs entre 1461 et 1466 du retable du Couronnement de la Vierge destiné à l''oratoire de la Confraternita della Buona Morte à Modène (Modène, Galleria Estense) et ayant aussi travaillé pour la cour des Este à Ferrare. Le style de ces artistes reflète la connaissance des œuvres de Piero della Francesca et de la culture padouane tout en restant attaché à la tradition gothique émilienne. En reconnaissant dans le panneau représentant Saint Dominique ressuscitant Napoleone Orsini (New York, Metropolitan Museum n° 22.60.59) l''une des scènes du retable dédié à saint Dominique dont on sait que Bartolomeo degli Erri en reçut la commande en 1467 pour le maître-autel de l''église dominicaine de Modène, il a été possible d''individualiser le style exact de Bartolomeo et de le différencier de celui d''Angelo ; mais déjà Longhi donnait le panneau de Washington (alors dans la collection Lazzaroni de Rome) à ce dernier et au premier tous les autres. Dès lors, cette distinction de mains entre les deux frères a prévalu et prévaut encore parmi les critiques modernes. Deux autres scènes ont été reliées ultérieurement à l''ensemble dédié à saint Thomas : un fragment d''une scène de l''Enfance de Saint Thomas (ex collection Eugen Schweitzer, Berlin, réapparu à New York, Christie''s 11 Juin 1979, n° 53) et la Mort de Saint Thomas d''Aquin, (Brno, Morovska Galerie) Benati, 1988, fig. 66, 80). Selon toute vraisemblance, les huit panneaux retrouvés devaient entourer initialement une figure de saint Thomas en pied. Cependant Benati (1988, p. 98, fig. 81) sans trop de conviction a suggéré le rattachement à ce retable d''une dernière scène représentant saint Dominique et saint François priant la Vierge (Bologne, collection particulière). Dans notre scène, le blason de la famille d''Este (aigle d''argent sur fond d''azur) qui a souffert et a été sans doute mal repeint, apparaît également dans le panneau de Washington. Est-il possible que ce blason rappelle une commande des Este comme Zeri et Gardner l''ont proposé mais que Benati (1988, pp.102 et 169) pense néanmoins peu probable privilégiant une commande vers 1467 émanant de la famille Rangoni très liée à l''église San Domenico et dont les armoiries apparaissent dans le panneau de New Haven et dans la Dispute de San Francisco - ou indique simplement les liens politiques de Modène alors sous la domination de Ferrare ? (1) 1) Le blason des Este et celui de Modène apparaissent sur deux miniatures montrant Saint Gimignano bénissant des orants ornant les Statuta Mutine Reformata de la ville de Modène (Modène, Archivio Storico Comunale, inv. IV, I, 10 et 11 fol.1v) peintes en 1420 par Benedetto degli Erri, père d''Angelo et Bartolomeo (cf. Il tempo di Nicolo III, exposition Rocca di Vignola, Mai-Juin 1988, pp. 161-162 n° 33, fig. XXXVI p.126 (couleurs) et p. 162). Rappelons aussi que Borso d''Este est duc de Modène en 1452. 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