Abstract

This article demonstrates the role of the visual arts, alongside literature, in mythologizing Masaniello (d. 1647) as hero and martyr, despite the limited role he played in the so-called “Revolt of Masaniello” (1647–1648). In addition to printed accounts of the revolt in a variety of languages, Masaniello imagery circulated on paper and canvas, in marble and wax. His likeness was illustrated in chronicles of the uprising, but he also appeared in the “fine” and performing arts, where artists of varied media continuously refashioned his persona, from 1647 well into the nineteenth century. Comparisons are made between a red chalk portrait of Masaniello by Aniello Falcone and several “Old Master” predecessors, such as Leonardo da Vinci and Michelangelo Buonarotti, to reveal how Neapolitan artists consciously inserted the rebel into a visual vernacular that transcended his historical specificity. This, combined with the international circulation of Masaniello print imagery, helped to consolidate the iconography of the Neapolitan peasant, the lazzaro, during and after the Grand Tour. The birth of Masaniello brings to light the quintessential elements of Neapolitan culture: its artistic heritage and political instability, its poverty and popular culture, its spiritual fervor and alleged danger.

摘要

本文展示了视觉艺术和文学在将马萨尼洛（卒于 1647 年）神话化为英雄和烈士方面所发挥的作用，尽管他在所谓的“马萨尼洛起义”（1647-1648 年）中发挥的作用有限。除了用各种语言印刷的反抗叛乱的记录外，马萨尼洛的图像还在纸张和画布、大理石和蜡上流传。他的肖像出现在起义的编年史中，但他也出现在“美术”和表演艺术中，从 1647 年一直到 19 世纪，各种媒体的艺术家不断重塑他的形象。将阿尼洛·法尔科内 (Aniello Falcone) 绘制的马萨尼耶罗 (Masaniello) 红粉笔肖像与达芬奇 (Leonardo da Vinci) 和米开朗基罗·博纳罗蒂 (Michelangelo Buonarotti) 等几位“老大师”前辈进行了比较，揭示那不勒斯艺术家如何有意识地将叛逆者融入超越其历史特殊性的视觉语言中。这与马萨尼洛印刷图像的国际流通相结合，有助于巩固那不勒斯农民、lazzaro，环游期间和之后。马萨尼洛的诞生揭示了那不勒斯文化的精髓：它的艺术遗产和政治不稳定，它的贫困和流行文化，它的精神热情和所谓的危险。