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I reliquiari quattrocenteschi della certosa di Garegnano: una rilettura digital
formato: Articolo | ARTE LOMBARDA - 2012 - 3 | anno: 2012 | numero: 3
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.
Antichi tramezzi in Lombardia: il caso di Sant’Eustorgio digital
formato: Articolo | ARTE LOMBARDA - 2010 - 1-2 | anno: 2010 | numero: 1-2
Ancient Partitions in Lombardy: the Case of Sant’Eustorgio CARLA TRAVI The article offers some insight considerations about the structure and function of partitions and parapets as architectural-liturgical elements documented in several Lombard churches in the Middle Ages. At the present state of the studies, the gradual demolition of these parts since approximately the 15th Century makes it difficult to be more precise about the number and placement of the documented examples. Nonetheless, particularly abundant and interesting information has been found about the partition in the Dominican church of Sant’Eustorgio in Milan, built in 1239 and heavily modified in 1279. This structure – the position of which within the church is tentatively defined in this study – should have been the original location of some pictorial works, such as an imposing Crucifix in Venetian style erected in 1288 and still present in the church, or two wood panels there situated in 1315, or immediately after, and both unfortunately lost.
I rinnovamenti pittorici nella basilica di San Vincenzo a Galliano e nella sua pieve nel corso del XIII e del XIV secolo digital
formato: Articolo | ARTE LOMBARDA - 2009 - 2 | anno: 2009 | numero: 2
In the basilica of San Vincenzo in Galliano, the great fresco of the Madonna and Child with Six Saints documents important pictorial renovation in the second half of the thirteenth century. It can be closely connected with some frescoes in the crypt, in an iconographical programme that, through the distance of past centuries, seems to link back up with Ariberto’s intentions. The author also suggests comparisons with other thirteenth century paintings in the parish of Galliano, in particular in the church of Sant’Antonio in Cantù. In the basilica of San Vincenzo, early fourteenth century frescoes on the inside façade wall are also examined, as are those in the crypt. The crypt frescoes can be dated to the end of the fourteenth/beginning of the fifteenth century, suggesting comparisons with contemporary painting in the Brianza area and in the province of Varese.
Scambio delle tecniche e citazioni da Francesco Londonio nei disegni di Pietro Giacomo Palmieri digital
formato: Articolo | ARTE LOMBARDA - 2015 - 3 | anno: 2015 | numero: 3
The collections of Museo Civico d’Arte Antica in Palazzo Madama include four sheets drawn in Turin in 1793 by the Bolognese artist Pietro Giacomo Palmieri during the last period of his career. Those drawings are a sophisticated collage of figures copied from Francesco Londonio’s etchings and evoke the effects of watercolor prints. Palmieri’s taste for emulation of printmaking technique and for pastoral subjects goes back to the time of his early artistic formation in Bologna...