SAMMARTINO, Giuseppe - b. 1720 Napoli, d. 1793 Napoli - WGA

SAMMARTINO, Giuseppe

(b. 1720 Napoli, d. 1793 Napoli)

Italian sculptor, one of the foremost stuccoist of his period in Naples. He was probably trained in the workshop of the sculptor Matteo Bottigliero (active 1724-54). His first signed and dated work is the marble statue of the Dead Christ (1753) in the Sansevero Chapel in Naples. This work had originally been commissioned from the Venetian sculptor Antonio Corradini, who, on his death in 1752, left only a terracotta model. Sanmartino interpreted the model very freely and produced a work of skilful realism, which demonstrates that Sanmartino had already reached artistic maturity, and it earnt him immediate popularity in Naples, especially at the Bourbon court.

In 1757 he received another prestigious commission from the Carthusians at the Certosa di S Martino, for whom he executed allegorical marble statues of Virginity, Reward, Charity and Fortitude, four groups of cherubs and the altars of the chapels of the Assunta and S Martino in the church of the Certosa di S Martino. The tender modelling of the marble, the graceful composition and the sentimental poses, which give the allegorical figures an almost worldly look, are characteristic of Sanmartino’s work. He remained faithful to this style throughout his career, even in monumental works such as the four Virtues of Charles of Bourbon (1763-64), arranged, together with ten statues of similar subjects by other sculptors, on the crowning of the hemicycle of the ‘Foro Carolino’ (now Piazza Dante), in Naples.

Sanmartino also designed decorative works, and his masterpiece in this genre is the main altar of the Certosa di S Martino (with two large marble figures of angels bearing candlesticks), a balustrade or low screen with polychrome marble and pietra dura inlays dividing the sanctuary from the nave, and a gilt bronze grille above it (c. 1768).

Sammartino only went to Rome as a mature artist, probably before 1760; his works betray close study of the marble groups there.

Dead Christ Lying in the Shroud

Baroque sculpture continued to be produced throughout Italy and beyond well into the eighteenth century. Sammartino’s strikingly gruesome Dead Christ Lying in the Shroud seems unaffected by fashions in art after 1700.

This work had originally been commissioned from the Venetian sculptor Antonio Corradini, who, on his death in 1752, left only a terracotta model. Sanmartino interpreted the model very freely and produced a work of skilful realism, displaying great virtuosity in the execution of a transparent veil that covers the whole body of the reclining Christ.

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High Altar

In Naples, stucco and even papier mâch� were frequently pressed into service in churches where marble or bronze would have been too costly. Sammartino became one of the foremost stuccoists there, and even developed an especially resistant form of plaster for exterior statues. His flair in the medium can be seen in the high altar of Sant’Agostino alla Zecca, where the patron saint casts down Heresy while Faith and Charity minister to the faithful.

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Nativity

The Nativity inspired a type of sculpture that allowed the period’s taste for the theatrical to vent itself freely, but on a miniature scale. This was the ‘cr�che’ or Nativity scene (presepio in Italian), an art that was virtually a Neapolitan monopoly. Neapolitan presepios were exported all over Europe. Some of them transcended mere artisanal ingenuity and were true works of art; indeed, some of them were modelled by sculptors who felt equally at ease carving on a monumental scale. This was manifestly the case with Giuseppe Sammartino, a Neapolitan who was deeply attached to his birthplace and who carved statues for many churches in Naples.

The deftly modelled and painted terracotta figurines of the Presepio shown here are his handiwork.The grouping is masterly; the dynamic composition perfectly calculated to produce a dramatic effect, one strongly emphasized by the picturesque character of the setting. The shadows, familiar objects, and details are placed with an unerring touch.

Suggested listening (streaming mp3, 4 minutes):

Giuseppe Aldrovandini: Sonata in D Major for two trumpets, strings and basso continuo

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