Becoming Bolognese: The Converted Jew Ippolito Boncompagni and his Relationship with Guido Reni, Guido Signorini and Domenichino The essay moves from an introduction on Guido Reni’s friendship with the converted Jew Ippolito Boncompagni, formerly Ruben Corcos, and presents the story of the conversion of the four Corcos brothers (all of whom were baptized as Catholics in 1592 and took the name Boncompagni) as the backdrop to a discussion of the Boncompagni collection of paintings inventoried in 1657. This collection featured a remarkable number of Bolognese and Emilian works by painters such as Reni, Guercino, Domenichino, Lanfranco, Albani, Sementi. Through an analysis of the documents, it is established that a substantial number of the works were owned by Ippolito, and the identification of some of them is attempted. The study then focuses on Reni’s cousin and heir, the painter Guido Signorini, bringing to light hitherto unpublished documents and new information on the friendship between Signorini and Ippolito, and providing a close reading of archival material concerning Reni’s will, inventory and Signorini’s inheritance. The final section focuses on Ippolito and Domenichino. Archival documents show that Ippolito was financially involved not only with Guido Reni, but also with Domenichino, possibly as early as 1621–1623, and – after the painter’s death in 1641 – with his widow. The Boncompagni owned two paintings by Domenichino, one of which is an unknown Rebuke of Adam and Eve. Expanding on Richard Spear’s insights into the unusual iconography of another version of the Rebuke by Domenichino now in the Museum of Grenoble, the author hypothesizes that these anomalies could reflect the Corcos’ Jewish background. Finally, the study presents an interpretation of Boncompagni artistic patronage and collecting as instruments of self-representation, as well as means to gain and consolidate social acceptance
Serafinelli, G. (2020). Diventare bolognese. L’ebreo converso Ippolito Boncompagni e i suoi legami con Guido Reni, Guido Signorini e Domenichino. ROMISCHES JAHRBUCH DER BIBLIOTHECA HERTZIANA, 43, 127-179.
Diventare bolognese. L’ebreo converso Ippolito Boncompagni e i suoi legami con Guido Reni, Guido Signorini e Domenichino
Guendalina Serafinelli
2020-01-01
Abstract
Becoming Bolognese: The Converted Jew Ippolito Boncompagni and his Relationship with Guido Reni, Guido Signorini and Domenichino The essay moves from an introduction on Guido Reni’s friendship with the converted Jew Ippolito Boncompagni, formerly Ruben Corcos, and presents the story of the conversion of the four Corcos brothers (all of whom were baptized as Catholics in 1592 and took the name Boncompagni) as the backdrop to a discussion of the Boncompagni collection of paintings inventoried in 1657. This collection featured a remarkable number of Bolognese and Emilian works by painters such as Reni, Guercino, Domenichino, Lanfranco, Albani, Sementi. Through an analysis of the documents, it is established that a substantial number of the works were owned by Ippolito, and the identification of some of them is attempted. The study then focuses on Reni’s cousin and heir, the painter Guido Signorini, bringing to light hitherto unpublished documents and new information on the friendship between Signorini and Ippolito, and providing a close reading of archival material concerning Reni’s will, inventory and Signorini’s inheritance. The final section focuses on Ippolito and Domenichino. Archival documents show that Ippolito was financially involved not only with Guido Reni, but also with Domenichino, possibly as early as 1621–1623, and – after the painter’s death in 1641 – with his widow. The Boncompagni owned two paintings by Domenichino, one of which is an unknown Rebuke of Adam and Eve. Expanding on Richard Spear’s insights into the unusual iconography of another version of the Rebuke by Domenichino now in the Museum of Grenoble, the author hypothesizes that these anomalies could reflect the Corcos’ Jewish background. Finally, the study presents an interpretation of Boncompagni artistic patronage and collecting as instruments of self-representation, as well as means to gain and consolidate social acceptanceI documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
