L’abate Francesco Maria Gallarati (1729-1806) miniatore dilettante e critico d’arte: gli studi sul Cenacolo vinciano digital
formato: Articolo | ARTE LOMBARDA - 2017 - 3
The abbot Francesco Maria Gallarati was an art lover, a connoisseur and a miniature painter. In 1769 he began producing a miniature copy of Leonardo’s Last Supper, measuring slightly more than a meter in length, with the painted figures being a little taller than 20 centimetres. Probably following a suggestion put forward by Gallarati, in 1770 the painter Giuseppe Mazza was charged with restoring the Last Supper...
Per Giuseppe Bossi conoscitore: memorie dai soggiorni a Roma del 1810 digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Renown painter Giuseppe Bossi (1777-1815) shaped his experience as a connoisseur by personally seeing the artworks, and during several journeys through Italy. The unpublished memoirs from his stay in Rome in 1810 constitute an insight on his considerations on Leonardo da Vinci, Raphael and, episodically, Michelangelo. After reporting the presumed theft of Leonardo’s Libro di pittura (cod. Lat. Urb. 1270), Bossi works to dismantle the traditional attributions of works to the artist, starting with a critical analysis of the notorious frescoed lunette from the convent of Sant’Onofrio al Gianicolo. The individuation of Raphaelian elements brings to the identification of a possible preparatory sketch carelessly attributed to the painter from Urbino. The episode exemplifies the miscues of Bossi’s early attribution practice on Raphael’s drawings, and particularly on the corpus of the Libretto veneziano, now at the Cabinet of Drawings of the Venice Academy. Following Bossi along his Roman journey, we find him innovatively interested in Michelangelo’s production as a poet, which he examines on the manuscripts, with a striking philological approach.
L’allestimento della quadreria di Giuseppe Bossi nel palazzo milanese di via Santa Maria Valle secondo il primo inventario topografico digital
formato: Articolo | ARTE LOMBARDA - 2012 - 1-2
The set-up of Giuseppe Bossi’s painting collection in the palace at Via Santa Maria Valle in Milan, based on the first topographic inventory SILVIO MARA The year 1810 was a turning point for painter Giuseppe Bossi, as he had just given up his position as secretary of the Brera Academy. In December, Viceroy Eugenio di Beauharnais founded a Special School of Painting under the individual direction of Bossi, who establishd its headquarters in the ancient, airy palace he had recently purchased in Via Santa Maria Valle in Milan. Over the next five years the neoclassical painter, involved in ambitious lietrary projects and tours, expanded his art collections and set them up in his new home, according to his peculiar taste. In the article, the entire topographic inventory of the painting collection is presented for the first time as it looked like immediately after the painter’s death on December 9th 1815. The set-up of the collection in the halls at the piano nobile, intended to please the owner’s taste and based in part on the tradition of rich, aristocratic Milanese families, nonetheless shows an attention towards the education of art students. The particular course structure Bossi gave his school could not take its inspiration but from the very artworks he himself collected, a necessary tool for studying and making copies from the great masters of the past. Thus, Bossi’s project for each room can be seen from such point of view. Thanks to the vast documentation found in the private archive of Bossi’s heirs, a large number of paintings could be adequately identified, and it was possible to trace their later changes of ownership.
Il Libro di disegni della Biblioteca Ambrosiana digital
formato: Articolo | ARTE LOMBARDA - 2010 - 1-2
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.