A stylistic analysis of Stefano and Alessio Erardi's paintings

Abstract

The prime aim of this dissertation is to present a comprehensive analysis of Stefano and Alessio Erardi' s paintings which are mostly religious in theme. Restrictions of publication space in existing secondary source material of an art historical nature have, hitherto, never permitted an expanded focus on their works. As the emphasis on the importance of these two seventeenth-century painters persisted, the pressing need for a complete and separate appreciation of their artistic contributions became increasingly felt. Moreover, research in archives intended to extract biographical information as well as trace the intricacies and dates of various commissions, had already sporadically commenced. What had been unfolded from these primary sources, together with the sizeable oeuvre repeatedly referred to in nineteenth- and early twentieth-century material, was more than enough to promote and implement the idea of seriously compiling Stefano and Alessio Erardi's paintings and dedicating well-deserved attention on their respective styles. Prior to a detailed discussion of Stefano Erardi's works, an introductory chapter presents a brief and rapid outline of the most prominent artistic developments during the late sixteenth and early seventeeth centuries in Rome, Naples and Malta. The scope is to define the context within which his works are meant to be appreciated. This chapter also superficially touches upon the contemporary social situation in Malta in order to shed some light on how secular and ecclesiastical authorities conditioned the general atmosphere of the time preceding the emergence of Stefano Erardi. Preparation for the introduction concentrated on a more profound familiarisation with the growth of Mannerism and the concurrent developments brought about by the Counter-Reformation, an understanding of what led to the foundation of the Bolognese school, the powerful impact of Caravaggio and, finally, how this concoction of styles eventually ripened into the early Baroque.