Abstract

Faced with the stasis of the artistic situation that dominated the Cremasco landscape in the mid-sixteenth century, the appearance of a work full of ideas, complex and modern like Saint Francis receiving the Stigmata with Saint Jerome must have seemed a real revelation. Starting from the analysis of this work, painted between 1546 and 1547 for the church of San Bernardino in Crema and now in the local Civic Museum, this article aims at focusing for the first time on the artistic physiognomy of its author, Stefano Alberio, an otherwise unknown painter, in which the powerful echo of the Milanese ‘grand manner’ full of Venetian sparks appears as altered in light of totally different experiences that point towards the Roman environment of the early sixteenth century