XV cent. ex
Still a problematic figure due to the absence of documentary material, he left his name−“Ioanes Chorenti opus”−on the incipit page of the rich arrangement of architectonic frames of the Urb. lat. 326. It is probable that the artist’s first activity took place in the context of the Gonzaga court in Mantua, while gaining his formation by observing the monumental works of Andrea Mantegna, such as the Camera degli Sposi (the camera picta) in the Castle of San Giorgio in the Lombard city, or the Ovetari Chapel in the Eremitani Church in Padua; he thus adopted motifs taken from the antiquaria of the Paduan-Ferrarese area. Accordingly, achievements generally attributed to the illuminator include works such as the Titus Livius, probably from the fifties of the fifteenth century (Turin, Biblioteca nazionale Universitaria, ms. J. II. 5), copied by Bartolomeo Sanvito (de la Mare - Nuvoloni, Bartolomeo Sanvito, p. 140), and Pliny’s Historia naturalis dated c. 1475 (Turin, Biblioteca nazionale Universitaria, ms. J. I. 22-23), a project which also included Pietro Guindaleri. Corenti then worked within the group of illuminators from the Paduan-Ferrarese area who worked steadily for the Federico da Montefeltro collection from the second half of the seventies, for which, in addition to Urb. lat. 326, the artist also created Urb. lat. 324, Urb. lat. 325 and Urb. lat. 353.
MARCON, Corenti, Giovanni, pp. 175-176; FUMIAN, Scheda nr. 13, pp. 196-199; TONIOLO, I miniatori ferraresi, pp. 79-89.
Urb. lat. 326, f. 1r, «Ioanes Chorenti opus»
Urb. lat. 324, f. 1r - Urb. lat. 326, f. 1r
Urb. lat. 325, f. 1r - Urb. lat. 326, f. 1r