FERRARI (DE FERRARI), DEFENDENTE. - Piedmontese painter of the 16th century, whose known works date from 1500 (Assumption, Museum of Budapest) to 1535 (triptych of Sts. Crispin and Crispinian, Avigliana, S. Giovanni). In a document he is said to be a native of Chivasso ("Defendente de Ferraris de Clavaxio"), and from his earliest works his figurative descent from Martino Spanzotti, of whom he must be considered a pupil, is evident.
Some of his youthful works, indeed, were variously assigned to Spanzotti and to F., such as the Baptism of Christ (Turin, sacristy of the Cathedral) and the Adoration of the Magi (Florence, Contini collection). Even in his earliest works there are present elements of Franco-Flemish taste on a foundation of the Lombard tradition of Spanzotti.
Around 1510 the northern motifs become more pronounced (Nocturnal Nativity, Civic Museum of Turin), with analogies that have suggested connections with some late painter of the Cologne school. Around 1520-30 Mannerism enters F.'s art, harmonizing with the Franco-Flemish taste, and finally, in his last works, the artist repeats himself and exhausts his own painterly vein.
FERRARI, DEFENDENTE - Sposalizio della Vergine - Turin, Museo d'Arte moderno.
F.'s style is essentially that of a narrator who loves the chromatic life of precious surfaces, in the decorative richness of fabrics and costumes. He appears archaic and yet expresses himself in a personal language, often succeeding in being fresh and straightforward.
Among the principal works are remembered: the triptych of Avigliana (Nativity, etc., of 1511); the Madonna della Misericordia (1519; Cirie, S. Giovanni); the Adorazione del Bambino with St. Veremondo (1521; Ivrea, Cathedral); the Sposalizio della Vergine (Turin, Museo civico); the Madonna col Bambino, St. Joseph and angels (Baltimore, Walters Gallery); the choir with 20 painted stalls (Biella, 22 convent of S. Corolamo, 1523); the polyptych of St. Anthony of Ranverso at Buttigliera Alta (1551).
Bibliography7 works
Luigi Grassi