{"id":3706,"date":"2026-05-07T15:18:06","date_gmt":"2026-05-07T13:18:06","guid":{"rendered":"https:\/\/www.irsa.com.pl\/?p=3706"},"modified":"2026-05-07T15:18:31","modified_gmt":"2026-05-07T13:18:31","slug":"passignano-e-il-concorso-massimi","status":"publish","type":"post","link":"https:\/\/www.irsa.com.pl\/index.php\/2026\/05\/07\/passignano-e-il-concorso-massimi\/","title":{"rendered":"<I>Passignano e il Concorso Massimi<\/I>"},"content":{"rendered":"\n<h4>Papers by: Federico Berti, Marcantonio Massimo, Gianni Papi, Gianluca Poldi, Rossella Vodret<\/h4>\n\n\n\n<h4>Edited by: Federico Berti<\/h4>\n\n\n\n<p><\/p>\n\n\n\n<ul><li>Cracovia 2026<\/li><li>194\u00d7250 mm, hardback<\/li><li>96 pages, 39 illustrations<\/li><li>ISBN 978-83-89831-48-4<\/li><\/ul>\n\n\n\n<div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>This volume brings together five essays devoted to the recently rediscovered \u2018Flagellation of Christ\u2019 by Passignano, and revisits the issue of the \u2018Massimi commission\u2019. The studies offer new interpretations and seek to clarify the debate surrounding the various commissions for Massimi in Passignano, Cigoli and Caravaggio. The works of the three artists and the archival data are analysed from various angles, offering fresh perspectives.<\/p>\n\n\n\n<p>&nbsp;The essay by Federico Berti, the first to study and publish the \u2018Flagellation of Passignano\u2019, which forms the centrepiece of this publication, places the work within the broader context of the painter\u2019s output, reconstructing the possible commission of the painting by the Massimi family.<\/p>\n\n\n\n<p>In his contribution, Marcantonio Massimi suggests \u2013 based on documents preserved in the family archive \u2013 the hypothesis of two distinct commissions by the Massimi family, involving Passignano, Caravaggio and Cigoli, at the invitation of two different members of the family. The author recalls two patrons and art collectors who lived during the same period: Massimo Massimi (1576\u20131644) and Innocenzo Massimi (1581\u20131633), papal nuncio to Spain and later bishop of Catania, who was also an art enthusiast. The author does not rule out the possibility that Caravaggio may have painted two versions of the Ecce Homo: one for the clergyman Innocenzo (\u2018Monsignor\u2019 in the documents), and another for Massimo Massimi (\u2018illustrious gentleman\u2019, according to Cigoli\u2019s biography).<\/p>\n\n\n\n<p>Gianni Papi examines the theme of the \u2018Flagellations\u2019 of Passignano and relates them to Caravaggio\u2019s \u2018Ecce Homo\u2019 and \u2018Crowning with Thorns\u2019, and to Cigoli\u2019s \u2018Ecce Homo\u2019. By analysing the dimensions of the paintings and reconsidering their dates of execution, the author raises doubts about the actual existence of the competition itself. Papi therefore remains sceptical regarding the sequence of events and the actual presence of the works in question in the rooms of Palazzo Massimo, circumstances which, in his view, remain largely hypothetical at present, albeit possible.<\/p>\n\n\n\n<p>&nbsp;Rossella Vodret, summarising the results of her research into the various versions of the \u2018Ecce Homo\u2019, seeks to clarify the chronology of Caravaggio\u2019s paintings and the possible role of Cigoli and Passignano in the commissions of the Massimi family.<\/p>\n\n\n\n<p>Finally, Gianluca Poldi presents the results of the non-invasive technical examinations carried out on Passignano\u2019s painting, highlighting in particular the findings of infrared reflectography and comparing them with those obtained from other works by the artist.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" width=\"591\" height=\"745\" src=\"https:\/\/www.irsa.com.pl\/wp-content\/uploads\/2026\/05\/Passignano_cover_internet_04.jpg\" alt=\"\" class=\"wp-image-3709\" srcset=\"https:\/\/www.irsa.com.pl\/wp-content\/uploads\/2026\/05\/Passignano_cover_internet_04.jpg 591w, https:\/\/www.irsa.com.pl\/wp-content\/uploads\/2026\/05\/Passignano_cover_internet_04-238x300.jpg 238w, https:\/\/www.irsa.com.pl\/wp-content\/uploads\/2026\/05\/Passignano_cover_internet_04-119x150.jpg 119w\" sizes=\"(max-width: 591px) 100vw, 591px\" \/><\/figure><\/div>\n\n\n\n<h4>CONTENTS<\/h4>\n\n\n\n<p><strong>Prefazione<\/strong><\/p>\n\n\n\n<p><em>J\u00f3zef Grabski<\/em><\/p>\n\n\n\n<p>Il concorso Massimi e Passignano: un dibattito aperto<\/p>\n\n\n\n<p><strong>Il dipinto di Passignano<\/strong><\/p>\n\n\n\n<p>Federico Berti<\/p>\n\n\n\n<p>Ancora sulla <em>Flagellazione di Cristo <\/em>di Domenico Passignano<\/p>\n\n\n\n<p><strong>Il concorso Massimi. Ipotesi e proposte<\/strong><\/p>\n\n\n\n<p><em>Marcantonio Massimo<\/em><\/p>\n\n\n\n<p>Innocenzo Massimo e il suo concorso<\/p>\n\n\n\n<p><em>Gianni Papi<\/em><\/p>\n\n\n\n<p>Sulle commissioni di Massimo Massimi a Caravaggio, a Cigoli, e forse a Passignano<\/p>\n\n\n\n<p><em>Rossella Vodret<\/em><\/p>\n\n\n\n<p>La vicenda del concorso Massimo e la datazione dell\u2019<em>Ecce Homo <\/em>di Caravaggio<\/p>\n\n\n\n<p><strong>Il dipinto di Passignano. La tecnica<\/strong><\/p>\n\n\n\n<p><em>Gianluca Poldi<\/em><\/p>\n\n\n\n<p>Cavare dal buio, il vento della rivoluzione nel pennello del Passignano. Analisi tecniche sulla <em>Flagellazione<\/em><\/p>\n\n\n\n<p><strong>Bibliografia<\/strong><\/p>\n\n\n\n<div style=\"height:45px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Orders can be placed via email irsa@irsa.com.pl.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This volume brings together five essays devoted to the recently rediscovered \u2018Flagellation of Christ\u2019 by Passignano, and revisits the issue of the \u2018Massimi commission\u2019. The studies offer new interpretations and seek to clarify the debate surrounding the various commissions by Massimi for Passignano, Cigoli and Caravaggio. The works of the three artists and the archival data are analysed from various angles, offering fresh perspectives.<\/p>\n","protected":false},"author":3,"featured_media":3709,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ub_ctt_via":""},"categories":[32],"tags":[],"featured_image_src":"https:\/\/www.irsa.com.pl\/wp-content\/uploads\/2026\/05\/Passignano_cover_internet_04.jpg","author_info":{"display_name":"Irsa","author_link":"https:\/\/www.irsa.com.pl\/index.php\/author\/irsa\/"},"_links":{"self":[{"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/posts\/3706"}],"collection":[{"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/comments?post=3706"}],"version-history":[{"count":7,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/posts\/3706\/revisions"}],"predecessor-version":[{"id":3714,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/posts\/3706\/revisions\/3714"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/media\/3709"}],"wp:attachment":[{"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/media?parent=3706"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/categories?post=3706"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/tags?post=3706"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}