Esanatoglia, following the rich tradition of central Italy, has nurtered and attracted Masters in the several dominions of the Arts, since early Middle Ages. Below a brief introduction and main highlights.
First among many was the painter Diotallevi di Angeluccio (ca. 1300-1362 AD), considered the "Master from Esanatoglia".
Diotallevi developed his talent at the Fabriano School, where he learned from the famous Allegretto Nuzzi and Francescuccio di Cecco Ghissi. His production of paintings and frescos is spread across several cities in the Marche.
For Santa Anatolia he painted the frescoes Divina Maria di Fonte Bianco for the Church of Sant'Agostino (today Santa Maria della Misercordia), the Monastery and the Chiesetta di Fonte Bono, with sacred figures of great elegance.
The Museum Diocesano di Camerino hosts two of the most precious work of art from our Comune: the Table of Madonna del Gonfalone, attributed to Diotallevi and the statue of Santa Anatolia della Bottega from Alegretto Nuzi.
Not less historically important are the wall paintings on the subject of knights, always present - even if in a bad state of conservation - in the hall and saloon of the Palazzo dei Varano, attributed to Feliciangeli and an unknown fresco artist of the late 1400's, under the reign of Julius Caesar.
In Santa Anatolia, in the second half of the XV century, there are signs of two other painters, Antonio di Giovanni di Allegro and Giovanni di Maestro Antonio (possibly father and son), but until today they are not other signs to confirm the authorship.
From Simone de Magistris from Caldarola has been preserved: a painting (in Santa Maria della Misericordia) that portraits the Madonna at the bottom of the cross (1565) and some other fractions of the frescoe of the Church of the Monastery of Fonte Bono.
Also to Simone is attributed the figuration of the Cycle of Nativity, still visible today in the walls and around the Capella degli Innocenti inside the Oratorio della Confraternita del SS. Sacramento - an austere bicentennial construction denominated le Bare (the Coffins) as a place for funeral prayers with the deads before the burial in the church.
Lorenzo Taccaroni exercised in Santa Anatolia the "bell'arte" of sculpture during nearly all the 1500’s.
In the next century the monaco Carlo Milanuzzi was poet and musicist of great fame.
Ivo Pannaggi, Esanatogliese per adoption, was architect and scenograph, friend of Filippo Tommaso Marinetti, Prampolini and Paladini of the Manifesto dell' Arte Meccanica.
Pannaggi enrolled twice in schools of architecture, firstly in Rome and then Florence but did not graduate from either.
A 'multimedia' artist par excellence and one of the protagonists of Futurist “mechanical art”, Pannaggi designed extraordinary futurist furniture for the Zampini house in Esanatoglia in 1926. He designed four rooms with a concept close to Suprematism, with a psychological aspect besides the its actual functions of use.
The remaining pieces are preserved today by the same owners (in situ), while objects from the antechamber and hall are today in exhibition at the Modern Collection of the Pinacoteca Civica di Macerata.
Pannaggi also worked as a theatre set designer and also designed 'mechanical' theatre costumes.
He was ideologically close to the Soviet communist avant-gardes, and at the beginning of the 1930s he effectively abandoned the Futurist movement, moving first of all to Germany where he attended the Bauhaus up to its closure (ordered by Hitler in 1933) and then to Sweden, where he worked with architecture after 1945.
And last but not least, we mention Jenner Mataloni who was the Head of Scala di Milano in the 1940s, whose talent is a testimony of love for the Theatre that in many ways accompany the identity of the Esanatogliesi.