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Il disegno del Victoria and Albert Museum per la facciata di Santa Maria presso San Celso a Milano. Alcune riflessioni digital
formato: Articolo | ARTE LOMBARDA - 2016 - 1-2 | anno: 2016 | numero: 1
The Victoria and Albert Museum of London collection features a famous drawing of the project for the façade of a church. It is catalogued as “Design for the façade of the Church of Santa Maria presso San Celso, Milan”, and dated 1570. It is attributed to “Galeazzo Perugino”. If on the one hand the subject has been unanimously recognized as exact, the date and the attribution have not, and this issue has sparked an interesting debate among scholars of Milanese and Italian architecture of the Cinquecento...
Achille Alberti, un protagonista della scultura lombarda di fine Ottocento. Alcune riflessioni sulla prima attività digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3 | anno: 2013 | numero: 2-3
Milanese sculptor Achille Alberti (1860-1943) has never been the object of a systematic, in-depth study. The essay attempts to fill such void by casting some light on the artist’s early activity, based on his works and on the prevalently unpublished archive materials he left to the Archivio dell’Ospedale Maggiore-Ca’ Granda in Milan. Alberti was a discreet protagonist of cultural life in Milan at the turn of the Century: although he did not possess the temper of the innovator, he was particularly apt – especially during his youth – in interpreting the trends of his cultural milieu. It is of particular interest to observe how he adopted and embraced the spirit of Verismo and its attempt to depict reality as a phenomenon. Such style, though often associated with a more traditional iconography, is taken to an extreme in works such as the famous Sloth exhibited at the Triennale of Milan in 1891.
«E molti ne aveva summa deletatione». Architetture, spettacoli e feste romane nel racconto e nei disegni del Taccuino di Salisburgo digital
formato: Articolo | ARTE LOMBARDA - 2013 - 1 | anno: 2013 | numero: 1
The codex includes a description and depiction of famous monuments of ancient Rome and the Arena of Verona. The piece can be dated to the last two decades of the 15th Century, thanks to the direct account of the partial destruction of the so-called Septizodium and the killing of Duke Galeazzo Maria Sforza, both in 1476; the mentioning of Galeazzo Maria’s death is also one of the elements attesting the Lombard origin of the manuscript. The described monuments are the Colosseum, the Arena of Verona, the Circus of Maxentius, the Stadium of Domitian, Trajan’s Column, the Arch of Janus, the Vatican Obelisk, the Septizodium, the Circus Maximus, the Sanctuary of Palestrina, the Baths of Diocletian, of Caracalla and others, and a theatre. The drawings show a method of representation similar to that of Filarete, displaying a suggestive use of perspective, as well as very early examples of architectural sketches combining elevation and floor plan. The repertoire of architectural details is very rich: frames, capitals and bases. The buildings are articulated in a proportional system, with no indication of measurements, with one exception in which the chosen metric system is the one in use in Milan. While references to Alberti’s theories abound, very few words are dedicated to architectural annotations, and more space is given to the functions and activities of each building. Historical thoroughness prevails on any artistic or technical purpose, even though the drawings themselves show remarkable accuracy and a proper use of instruments, which accounts for the author’s knowledge of representational techniques. The codex has the form of a brief treatise, and the drawings might actually be copies, a possibility suggested by the fact that included in the Uffizi collection are several plates derived form a common source, supposedly a book of models. The author is well read in both Latin and vernacular sources for Roman history: he describes gladiatorial games and circuses in detail, as well as races, naumachiae and battle simulations, but also baths and shows, often described adapting categories from Renaissance theater. The description of a feast almost identical to the famous one held on the occasion of the wedding of Costanzo Sforza di Pesaro and Camilla Marzano d’Aragona (1475), also recounted in the chronicles of the time, supports the attribution of the codex to the Milan milieu of the Sforza period, since representatives of Milanese branch of the noble family had taken part to the celebration. The apparent connection to the court, the erudite, descriptive and yet not at all philological account suggest a likely attribution of the work to one of the time’s humanists appointed to diplomatic and cultural tasks, such as Bergonzio Botta.
La scultura di Riccardo Ripamonti (1849-1930) tra impegno civile e protesta sociale digital
formato: Articolo | ARTE LOMBARDA - 2009 - 3 | anno: 2009 | numero: 3
The activity of Riccardo Ripamonti (Milan, 1849-1930), a key figure of Lombard sculpture between the end of the 19th and the beginning of the 20th Century, has to be placed among the most thought-provoking facts in Italy at the time, both on a formal and on a content-related level. Nonetheless, Ripamonti’s life and work have been long forgotten by art historians, as well as by his contemporaries. It is then very interesting to trace the evolution of his sculptural production, beyond his best-known work – the monument to Missori still placed in the homonymous square in Milan – finding a coherent thread in a consistent tension between civil commitment and explicit social protest. Such delicate balance finds its expression in a style of Verist derivation, occasionally sketchy, more often sustained by a more evident Realism, as in the case of Miscarriage of Justice, presented at the Milan Triennale of 1891, which distinguished Ripamonti as one of the most interesting actors in the tendency of Social Realism, very common in Italy, and particularly in Lombardy, during the last decade of the 19th Century.