Tutti i libri editi da Vita e Pensiero - libri Arte Lombarda Vita e Pensiero (258)

Vita e Pensiero

Un gioiello in oro a smalto en ronde-bosse in un documento milanese del primo Quattrocento digital Un gioiello in oro a smalto en ronde-bosse in un documento milanese del primo Quattrocento
Year: 2010
A golden jewel enameled en ronde-bosse in a Milanese document from the early 15th Century ROBERTA DELMORO The article recopies and analyzes – with particular focus on their historical and art-historical importance – the contents of a previously unpublished document found among the folders of Milanese notary Giovannino Balbi in Milan’s State Archive. The instrumentum, an act of turnover produced in Milan and dated July 6th 1405, describes – with compositional and iconographic detail – a votive dangling plaque, then preserved by Giovanni I Borromeo, entirely made of gold and enameled in relief in white and red, using the en ronde-bosse technique. The pendant, now presumably lost, represented the Virgin with Child between the Saints John the Baptist and Dionysius Confessor, the Holy Spirit Dove and, at the top, the Holy Father in Heaven with Angels. The presence of the Milanese Martyr Saint separates the jewel, probably made in Paris, from the presently known accounts of similar sumptuary objects found in Lombardy. Its commission is just an episode of the wide range of trades between Lombardy and France, a result of the “international” policy adopted by Giangaleazzo Visconti at the end of the Middle Ages.
€ 6.00
Il trittico del Diözesanmuseum di Vienna digital Il trittico del Diözesanmuseum di Vienna
Year: 2010
The Triptych in the Diözesanmuseum in Vienna CORINNA GALLORI The collection of the Diözesanmuseum in Vienna includes a mid-15th Century painted triptych, the execution of which can be traceable in the Lombard milieu. This study’s intent is to bring up this artwork – which has never been thoroughly researched – to the attention of scholars, analyzing different aspects of it: the reconstruction of the passages of property that brought it to its current location, the problems of attribution, the complex iconography. This element deserves particular attention, since the altarpiece is unusually abundant in episodes, linked to one another in a less than clear way. The in-depth analysis particularly concerns one specific element, the Dead Christ with Three Angels (Engel- Pietà), showing an iconography correspondent to that of several other works, Italian and foreign, possibly the result of the diffusion of a common printed source.
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Il polittico di Treviglio alla luce del disegno sottostante: impostazione del problema e nuove aperture digital Il polittico di Treviglio alla luce del disegno sottostante: impostazione del problema e nuove aperture
Year: 2010
The Treviglio Polyptych seen through its underlying drawing. Setting-up the study and opening new lines of research STEFANIA BUGANZA, GIANCLUCA POLDI The article analyzes the Treviglio Polyptych (1485-1490) – a masterpiece of Lombard Renaissance painted by Bernardo Zenale and Bernardino Butinone – on the basis of new reflectograms revealing the underlying drawing. The goal is to retrieve new information about the execution and to make a clearer distinction between the individual contribution each of the two artists gave this common task. An introduction on the criticism related to the work – giving account of the different opinions expressed by scholars on the distinction between the two separate interventions and the organization within Butinone and Zenale’s workshop – is followed by a detailed analysis of the drawings underlying beneath all the panels of the polyptych, compared with those made on coeval paintings by both artists. The last section summarizes the results of our study and their incidence on matters of style and autography. The most relevant discovery is the intervention by Zenale on the finished work, on both his and Butinone’s parts, in order to give coherence to the altarpiece.
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Pavia 1477: un avvio per Zenale digital Pavia 1477: un avvio per Zenale
Year: 2010
Pavia 1477: a beginning for Zenale CARLO CAIRATI A newly discovered document on Bernardo Zenale casts some light on the beginnings of the painter from Treviglio, and opens up new lines of research. At the end of the 1470s, the young artist was living in Pavia – a fact so far unknown in his biographies – where he established contacts with Bonifacio Bembo and Giacomino Vismara, and with the group of painters responsible for the decoration of the partition in the church of San Giacomo della Vernavola. Zenale’s beginnings should then be found in this important center in Lombardy, where Foppa and his fellow painters were the main actors in a daring milieu strongly influenced by the culture of Ferrara and Bologna.
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Il Libro di disegni della Biblioteca Ambrosiana digital Il Libro di disegni della Biblioteca Ambrosiana
Year: 2010
The Book of drawings of the ambrosiana library SILVIO MARA The realization of the rich drawing collection of the Ambrosiana in Milan goes back to the years of Federico Borromeo, who positively wanted to ensure the institution he had founded with a large number of “books of drawings”, the characteristic format such collections were given by the taste of the time. No recollection exists of the original organization of these volumes, on which several drawings were attached. A coherent recognition of documentary sources found both at the library and at other structures – covering a time-span that goes from the early 17th to the late 19th Century – allowed to retrace the history, as well as most of the original features, of one of the most ancient among such precious books. The collected data seem to bring up the possibility that the former owner – and maybe maker – of the Book was the Milanese – though born in Urbino – architect Giovanni Battista Clarici (1542-1602). The drawings included in the book were taken after works by several artists from the 16th Century, perhaps with the intent of representing the most relevant pictorial schools of the Renaissance. Despite that, a truly Milanese character stands out, particularly in a striking series of caricatures inspired by the example of Leonardo, alternated with some outstanding original drawings by the Florentine master.
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Pietro Maggi a Crema: le tele della demolita chiesa di San Marino digital Pietro Maggi a Crema: le tele della demolita chiesa di San Marino
Year: 2010
Pietro Maggi in Crema: the canvases in the demolished church of San Marino LICIA CARUBELLI Following the death of the major local painters from the 1600s, no personality of particular relevance seems to have emerged in Crema at the turn of the century. Customers then reached out to other areas, such as Veneto and Milan. Thus is explained the presence in town of important works by Legnanino and Giacomo Parravicino, who had been born in Valtellina but were living in Milan: specifically, the former’s Annunciation in the parochial church of San Giacomo and the latter’s rather imposing frescoed decoration in the church of Santa Maria della Croce, made in collaboration with the Grandi brothers, specialized in the technique of quadratura. Pietro Maggi – to whom a cycle of canvases for the church of Bagnolo Cremasco has been attributed in the past – belonged to the very same milieu; his name is now being associated with a group of 6 canvases formerly in the church of San Marino in Crema, seat of the Barnabite Fathers in the 17th and 18th centuries. These works ought to be attributed to the Milanese painter on the basis of clear similarities with his known production, showing close links with the figural culture of both Lombardy (scholars presume he was a pupil of Filippo Abbiati) and Veneto. The Crema paintings, representing Alessandro Sauli Receiving Communion, St. Libor, St. Francis of Sales, St. Anthony of Padua in Adoration of the Child, St. Anne and the Virgin Mary, St. Charles in Adoration of the Crucifix, show the work of a painter up to date with the most important 18th Century innovations, such as light and bright colors and a vibrant atmosphere, if still within a more traditional classicism.
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Pittori bresciani nella collezione Cosway a Lodi digital Pittori bresciani nella collezione Cosway a Lodi
Year: 2010
Painters from Brescia in the Cosway Collection in Lodi MONJA FARAONI The article addresses a previously unpublished corpus of paintings, part of the Cosway Collection in Lodi and attributed to the artist Giovanni Renica (1808-1884) from Brescia. It consists in some small oil landscapes and a Portrait of Father Christopher, the back of which reveals a manifold dedication indicating 1872 as the date of acquisition of all the paintings, a gift from the artist to Elena Solera, at the time Mother Superior of the famous boarding school founded by Maria Hadfield Cosway in 1812. The links between the institution and painters from Brescia were already revealed by the group portrait in which Gabriele Rottini celebrated Cosway’s philanthropic activity in 1834-35, depicting the woman together with other English dames and some students during a lecture. Another painting by Rottini in the collection is a small Portrait of a Girl, probably Cosway’s daughter Mariannina, herself a student of the school.
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«Due Nostre Donne di varie grandezze» di Leonardo a Milano digital «Due Nostre Donne di varie grandezze» di Leonardo a Milano
Year: 2010
«Due Nostre Donne di varie grandezze» by Leonardo in Milan EDOARDO VILLATA In the drafts of two letters datable to 1508, to be sent to Charles d’Amboise and to Goffredo Carolo, Leonardo states that he had done «in assai buon porto» two «Nostre Donne» destined for the King of France; yet we know nothing of these works. They cannot be identified with any known Leonardesque work, but they must have existed. They must have been works of a relatively small format, connected with the inventions between 1505-1506, and they must have been known mainly in Lombardy. Perhaps there is a hypothetical model that corresponds to such characteristics: the one behind a certain number of Lombard Nativities of the second decade of the 16th Century, the best example of which is the one from the church of Santa Maria dei Canali in Tortona. Also, the model was still popular in the seventeenth century, thus very authoritative even if inaccessible today. We can find the oldest account of it in a drawing under the layer of paint in a Madonna at Brera, convincingly attributed to Fernando Yáñez de Almedina, a Spanish artist who was with Leonardo until 1506. This drawing shows an inclined female head, along the lines of very well-known examples such as Leonardo’s St. John the Baptist or Leda, and very similar to that of some Madonnas painted by Raphael in his Florentine years. Hence the hypothesis that such a prestigious model could only be the sketch for one of the «due Nostre Donne» which Leonardo himself mentions.
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Un nuovo San Giovanni Battista nel deserto della fase caravaggesca di Giuseppe Vermiglio digital Un nuovo San Giovanni Battista nel deserto della fase caravaggesca di Giuseppe Vermiglio
Year: 2010
A Newly Discovered St. John the Baptist in the Desert from the Caravaggesque period of Giuseppe Vermiglio MAURO PAVESI The surveys for the cataloguing of the works of Milan’s Pinacoteca Ambrosiana brought to the discovery, among the most recent acquisitions, of a previously unknown St. John the Baptist by Giuseppe Vermiglio, which presents the same relaxed, calm pose of the painting of the same subject made by Michelangelo Merisi da Caravaggio and now part of the collection of Musei Capitolini in Rome. The artwork, never mentioned in the specific literature, came through a donation to its present location in 2007, with the attribution to an anonymous 17th- Century Emilian painter; a number of glaring stylistic and structural similarities undoubtedly confirm the attribution to Vermiglio. The derivation from that specific Caravaggio original, painted in 1601 for Ciriaco Mattei – and also known through a replica documented in the Pamphili collection since the late 17th Century – adds a new piece to the reconstruction of the Roman acquaintances in the Lombard artist’s early career, after the notorious traces of his relationship with the Barberini and Giustiniani families, as demonstrated, respectively, by the many replicas Vermiglio had taken from Caravaggio’s Sacrifice of Isaac in the Barberini collection, and by the Coronation of Thorns at Palazzo Altieri, derived from another painting by Merisi, formerly part of the noteworthy collection of Marquis Vincenzo Giustiniani. The possible date of Vermiglio’s newly discovered painting should not be extremely late, given the obvious derivation from Caravaggio, which suggests a not quite distant impression from the direct view of Merisi’s masterpieces; nonetheless, a clear classicist reduction of the model and the normalization of its iconography – typical elements of Vermiglio’s late Milanese works – seem to suggest a date near his return to Lombardy (documented since 1621).
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Committenza e cantiere. Note d’archivio per palazzo Cusani a Milano digital Committenza e cantiere. Note d’archivio per palazzo Cusani a Milano
Year: 2010
Patrons and the construction site. Archive information for Palazzo Cusani in Milan MARICA FORNI The essay focuses on the reading of previously unpublished documents on the historical uses of Palazzo Cusani, in an attempt to link the patronage of Abbot Gerolamo Cusani to Roman architect Giovanni Ruggeri, to define a clearer chronology of events and to put into context the projects and times of construction within the complex, erratic development of personal affair and patrimonial controversies among the components of the family. The 1707 post mortem inventory of the Abbot’s movables presents a “snapshot” of the building during its construction, allowing to identify the nucleus of its dwellings and to date the completion and assembling of the decorative structure of the well-known façade on Via Brera to the crucial period of the political overhaul which led to the submission of the State of Milan by the Habsburg. The ancient building was gradually eaten away by the new construction by Ruggeri, which extends from the individual block on Brera to the sides of the court by the two porches, jointed to the oldest nucleus of the palace, modified in the two phases of construction during the 1600s. The bipolarity of Roman and Viennese styles, recognizable in the modernity of the façade, appears to be well suited to the familiarity between the components of the family and both the restless workshop of architectural form of the late-baroque roman milieu – still able to influence Northern Italy – and the capital of the Austrian Empire, taking into account such slight, and yet important chronologic gap.
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Novità su Federico Ferrario nel Lecchese digital Novità su Federico Ferrario nel Lecchese
Year: 2010
New Discoveries on Federico Ferrario in the Territory of Lecco GIOVANNA VIRGILIO The essay presents a series of new documents allowing to push back the beginning of Federico Ferrario’s activity. The career of this artist is usually structured in two distinct phases: the first (approximately 1750s and 1760s) characterized by a constant presence in the Milanese territory – with brief stays in Monza, Brianza, Orta, Lodi and even Piacenza –, the second (1760s- 1780s) by a frequent activity in the area around Bergamo. His earliest works, approximately dated 1752, were so far identified as those for the churches of San Filippo in Lodi and Sant’Angelo in Milan. Now, two previously unknown paintings in the parish church of San Giovanni Evangelista in Galbiate (Province of Lecco) push back the beginning of Ferrario’s career – which still presents some black spots, especially in the early stages – by a decade. The two pendants represent respectively, the Adoration of the Magi and the Last Supper, and they are already documented in 1742. The essay also introduces other artworks that could be attributed based on style to the Milanese painter, found in the territory comprised among Abbadia Lariana, Mandello del Lario and Lierna, on the East bank of the Lecco branch of Lake Como.
€ 6.00
Nuovi spunti per i restauri ottocenteschi di Giulio Aluisetti in San Simpliciano a Milano digital Nuovi spunti per i restauri ottocenteschi di Giulio Aluisetti in San Simpliciano a Milano
Year: 2010
Giulio Aluisetti and the 19th-Century renovation of the Church of San Simpliciano in Milan SIMONA BORGONOVO Between 1839 and 1846, the basilica of San Simpliciano in Milan went through a period of deep rearrangement of its interior: architect Giulio Aluisetti operated a renovation that, while maintaining the Paleochristian structure, altered both the wall surface and the sculptural and pictorial decorations. In order to examine such a crucial turning point in the history of the basilica, the author meticulously wrote down documents from Milan’s Archivio Storico Civico and those, never previously published, from the City’s State Archive and the Parish Archive of San Simpliciano. The Archive of the Soprintendenza per i Beni Ambientali ed Architettonici of Milan was also a source, particularly regarding the 20th Century renovations. Such a vast exam, together with a reconsideration of the existing literature – among which the studies by Struffolino Krüger, allowed the author to trace the chronology of Aluisetti’s intervention, identifying the artists involved in the various stages of the project, and putting into context the architect’s drawings.
€ 6.00

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