ARTE LOMBARDA - 2012 - 3 - autori-vari - Vita e Pensiero - Fascicolo digitale Arte Lombarda Vita e Pensiero

ARTE LOMBARDA - 2012 - 3

digital ARTE LOMBARDA - 2012 - 3
Digital issue
Issue 3 - 2012
Title ARTE LOMBARDA - 2012 - 3
Publisher Vita e Pensiero
Format Digital issue | Pdf
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Del vero volto di Ambrogio. Riflessioni sul mosaico absidale di Sant’Ambrogio a Milano in epoca carolingia
by Ivan Foletti pages: 10 € 6.00
Thoughts on the apse mosaic of Sant-Ambrogio in Milan during the Carolingian era

The lower part of the apse mosaic in the Basilica of Sant’Ambrogio in Milan illustrates two episodes of St. Ambrose’s life, both recounted by Gregory of Tours and in the anonymous De vita et meritis Sancti Ambrosii. The current mosaic, representing the miraculous presence of St. Ambrose at St. Martin’s funeral, is the result of a modern makeover. Judging from some fragments, the original work can be dated to the 9th Century: the article takes these fragments into consideration, in order to suggest a more precise date and an innovative interpretation of the mosaic. St. Ambrose’s features are different from the usual depiction – as in the sacellum of San Vittore in Ciel d’Oro and in the golden altar of the Basilica – and appear identical to those of St. Peter. This choice might be explained as a provocation towards Rome and its most emblematic figure. The hypothesis is supported by the political situation during the years of Archbishop Ansperto (868-881), excommunicated and overthrown in 879 after a major disagreement with Pope John VIII. Such background makes the image in the apse of Sant’Ambrogio more clearly understandable: given St. Peter’s features, St. Ambrose is seen as an Alter Petrus, whose importance legitimizes the position of the Ambrosian church, unwilling to submit itself to Rome.
I reliquiari quattrocenteschi della certosa di Garegnano: una rilettura
by Carla Travi pages: 16 € 6.00
15th-Century Reliquaries at the Certosa di Garegnano: a new reading

The article offers a new analysis of the two reliquaries of the Certosa di Garegnano in Milan, made up of 15th-Century miniatures and golden glass frames. The relics preserved inside – which have been in the charterhouse since at least the late 16th Century, when they were arranged as in the current display – may have already been there by 1477. The hypothesis suggested in the essay is that glass frames and miniatures, each with its own relic, were originally organized in two distinct series, and may be dated to as early as the half of the previous century. The tempera pictures are strictly connected to the Carthusian environment, and specifically to the community of Garegnano, within which they might have been conceived. The golden glass frames, the work of a different workshop, are noted for their high quality and their affinity with the new language of the Renaissance. The cultural liveliness of the Certosa around and after the half of the 15th Century, well represented by the figure of the well-read Prior Matteo Codenari da Cremona, appears in the background of these masterpieces.
Per il catalogo del Maestro di Santa Maria Maggiore. Un crocifisso ligneo a Villacampagna di Soncino
by Matteo Facchi pages: 9 € 6.00
A contribution to the catalogue of the Master of Santa Maria Maggiore. A wooden Crucifix in Villacampagna di Soncino

The article analyzes a wooden Crucifix in the parish church of San Bernardo at Villacampagna, and advances a possible attribution to the so called Master of Santa Maria Maggiore. The characteristics of the artifact – and specifically its adjustable neck and arms – suggest it was probably destined to the peculiar ceremony of the “Unnailing”, which was held on Good Friday, mainly in the churches of the Franciscan Observance. Hence the hypothesis that the statue might originally be from the suppressed Convent of the Franciscan Observance of Santissima Annunciata in Soncino, not far from Villacampagna. A fact supporting the proposed attribution is that the commission for the Crucifix – which would be the only known work by the artist from Novara in the Cremona area – was endorsed by Blessed Pacifico da Cerano, the founder of the convent.
Celio Calcagnini, Terzo Terzi e la cultura architettonica a Ferrara nel primo Cinquecento (1513-1539)
by Francesca Mattei pages: 22 € 6.00
Celio Calcagnini, Terzo Terzi and architectural culture in early-16th-Century Ferrara (1513-1539)

The essay analyzes a previously unpublished document found at the Archivio di Stato in Ferrara, which makes it possible to attribute and date the tomb of local humanist Celio Calcagnini. According to the document, the project is to be attributed to Terzo Terzi, court architect of Ercole II d’Este, and its hypothetical reconstruction traces its origin from archaic models substantially different from those typical of the local tradition. Through an outline of Terzi’s overall activity, the author suggests a plausible position of the project within the architect’s body of work. Calcagnini’s architectural culture is then analyzed through his writings and library.
A part from the publication of newly discovered archive materials, the article reveals a virtually unknown aspect of the humanist’s multifaceted culture, establishing a starting point for further studies on architecture in early-16th-Century Ferrara.
Recuperi e restauri a San Giorgio su Legnano: l’Assunta di Bernardino Campi e Giovanni Battista Armenini (con una postilla per Filippo Abbiati)
by Stefano Bruzzese pages: 14 € 6.00
Recoveries and restorations in San Giorgio su Legnano: Bernardino Campi and Giovanni Battista Armenini’s Assunta (with a note on Filippo Abbiati)

Through the examination of documents and sources of the time, the author could identify the Assumption of the Virgin on board in the parish church of San Giorgio su Legnano – a small town not far from Milan, on the route to Varese – as the remaining part of an altarpiece made according to a project by (and with notable interventions of) Bernardino Campi and Giovanni Battista Armenini, painter and art writer from Faenza. Until now, only one of work by Armenini was known, another Assumption of the Virgin, now part of the collection of the Pinacoteca Civica in Faenza. This painting is also taken into consideration in the article, as the author analyzes its style with the intention of tracing its sources and proposing a possible date of execution. In the appendix, another painting from the church of San Giorgio su Legnano, formerly attributed to Andrea Pozzo, is more properly identified as the work of Filippo Abbiati, thus suggesting further thoughts on local patronage between late-17th and early 18th Century.
I fratelli Bonisoli, pittori cremonesi fra XVII e XVIII secolo
by Annunziata Miscioscia pages: 14 € 6.00
The Bonisoli brothers, painters from Cremona between 17th and 18th Century

The essay proposes a reconstruction of the artistic career of Agostino Bonisoli (Cremona, 1637/8-Tornata, 1707), a painter virtually unknown today, but vastly appreciated by noted patrons of his time. His body of work, characterized by a general unevenness in both style and quality, is here thoroughly reconsidered. During her research, the author could establish that such inconsistency was a consequence of the frequent interventions by the artist’s workshop and his younger brother Carlo, who is barely mentioned in the bibliography. A catalogue of Agostino Bonisoli’s paintings could then be completed, with 8 documented works, 30 lost and 17 excluded. The newlydiscovered documents also make it possible to identify Agostino as the author of a canvas from the Ala Ponzone Museum in Cremona, previously attributed to Jacopo Ferrari. Carlo Bonisoli’s artistic career also receives attention for the first time, as eight paintings on canvas and the frescoes in the church of Beata Vergine delle Grazie in Cortemaggiore, made in collaboration with Giuseppe Natali, are now attributed to Agostino’s brother.
Andrea Pozzo nelle lettere di Giovanni Battista Barella a Livio Odescalchi: novità e precisazioni sulle commissioni (mancate) in San Sebastiano a Milano e in Palazzo Reale a Torino
by Eugenia Bianchi pages: 15 € 6.00
Andrea Pozzo in Giovanni Battista Barella’s letters to Livio Odescalchi: clarifications and new discoveries on the (failed) commissions for San Sebastiano in Milan and Turin’s Royal Palace

The essay describes Andrea Pozzo’s early years in Rome (1681-1685), according to the information found in a number of letters written between December 10, 1681 and January 17, 1685 by Jesuit Giovanni Battista Barella, a resident of the San Fedele convent in Milan, and addressed to Livio Odescalchi, who had been convinced to settle in Rome by his father Carlo and his uncle Benedetto, Pope Innocent XI since 1676. These letters, kept in the Odescalchi Archive, currently part of the Archivio di Stato in Rome, are just a small portion of a vast and interesting correspondence – ranging between 1677 and 1686 and regretfully limited to incoming letters – offering a lively perspective on Milanese society of the time, a subject about which the recipient was particularly curious. The letters regarding Andrea Pozzo are focused on Barella’s attempt – prompted by the delegates of the Temple of San Sebastiano– to persuade the artist to move back to Milan and decorate the cupola of the church, as anticipated in a contract signed before the his departure in 1681. The Jesuit Father seeks help from Livio, whose influence, however, would eventually fail to convince the artist. The same unsuccessful result would later be obtained by other requests from the Jesuits of Turin and Vittorio Amedeo, Duke of Savoy, both aimed at persuading Pozzo to come to Turin, respectively to complete the decoration for the church of Santi Martiri and to work on one of the galleries of the Royal Palace.
Sulla formazione di Arturo Tosi
by Leonardo Passarelli pages: 16 € 6.00
On Arturo Tosi’s artistic education

Despite his important role in artistic life in Italy from the 1920s – both as a member of the committee of the “Novecento” movement, supported by his friend Margherita Sarfatti, and as a respected and decorated artist – Arturo Tosi (1871-1956) still leaves many unanswered questions regarding his career and particularly his early years. By joining the information found in newly-discovered documents together with that deduced from the bibliography, the article fills the void concerning Tosi’s artistic education, his studies, his beginnings as a painter and the relationships with other artists. Through the scrutiny of the painter’s correspondence, it is possible to reveal his network of connections and friendships, also dating several of his traveling experiences. Such data, together with the finding of previously unknown works from the 1890s, allows the author to better clarify Tosi’s language and his debts towards other masters, both ancient and modern, clearly visible in his paintings from the “alcoholic period”, a term used since 1951 to indicate the artist’s “expressionist” phase (1894-1910).

Appunti e segnalazioni

Riguardo a un «bel gonfalone dipinto dal Lucchese» a Carpenedolo
by Filippo Piazza pages: 3 Download
On a «bel gonfalone dipinto dal Lucchese» in Carpenedolo

The old pieve of Santa Maria dell’Annunciazione in Carpenedolo (Brescia) houses an Annunciation on canvas, here attributed to Pietro Ricchi, known as “Lucchese” (Lucca, 1606 – Udine, 1675). The painting has been long ignored by art historians, due perhaps to its less-thanideal state of preservation until its restoration in 1993. New inquiries allowed the author to identify the work as the “beautiful gonfalone painted by Lucchese”, witnessed by Francesco Paglia in the parish church of Carpenedolo in the late 17th Century, and considered lost until now. The presence of two more paintings on canvas by Ricchi in Carpenedolo (a St. Anthony and a Madonna with Child) supports the hypothesis that the “gonfalone” seen by Paglia is actually the work here analyzed, which would constitute the only plausible explanation for its current location.
Uno sconosciuto dipinto di Filippo Abbiati per il santuario della Madonna del Bosco a Imbersago
by Giovanna Virgilio pages: 5 € 6.00
A previously unknown painting by Filippo Abbiati for the Sanctuary of Madonna del Bosco in Imbersago

The article analyzes a late-17th-Century painting recently discovered during the cataloguing of the assets of the Diocese of Milan, and originally displayed on the high altar of the Sanctuary of Madonna del Bosco in Imbersago. The painting depicts the miraculous apparition of the Virgin on May 9, 1617: while resting against a chestnut tree, the Madonna presents three burs to a group of shepherds kneeling at the bottom of the scene, next to an ox, a dog and some sheep. The extremely good quality of the work immediately suggested an attribution to an important master, later identified with Filippo Abbiati, who had worked here together with another painter, a specialist in the rendition of animals and plants. A validation to this hypothesis is given by the will of Alberico Barbiano di Belgiojoso, patron of a chapel in the Sanctuary, dated September 19, 1692, in which he endows a budget in favor of the high altar. The nobleman was actually a patron of Abbiati and another painter named “Merate”, a pupil of Tempesta. It was then possible to make inquiries about this artist, who could probably be identified with Giuseppe Merati, mentor of Tavella, the author of an interesting – yet virtually unknown – cycle of frescoes in the castle of Roncadelle (Brescia).

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