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ARTE LOMBARDA - 2010 - 1-2

digital ARTE LOMBARDA - 2010 - 1-2
Fascicolo digitale
rivista ARTE LOMBARDA
fascicolo 1-2 - 2010
titolo ARTE LOMBARDA - 2010 - 1-2
editore Vita e Pensiero
formato Fascicolo digitale | Pdf

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Sommario

Antichi tramezzi in Lombardia: il caso di Sant’Eustorgio
di Carla Travi pagine: 12 € 6,00
Abstract
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.
Un gioiello in oro a smalto en ronde-bosse in un documento milanese del primo Quattrocento
di Roberta Delmoro pagine: 7 € 6,00
Abstract
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and analyzes – with particular focus on their historical and art-historical importance – the contents of a previously unpublished document found among the folders of Milanese notary Giovannino Balbi in Milan’s State Archive.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.
Il trittico del Diözesanmuseum di Vienna
di Corinna Tania Gallori pagine: 15 € 6,00
Abstract
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.
Il polittico di Treviglio alla luce del disegno sottostante: impostazione del problema e nuove aperture
di Stefania Buganza, Gianluca Poldi pagine: 30 € 6,00
Abstract
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.
Pavia 1477: un avvio per Zenale
di Carlo Cairati pagine: 5 € 6,00
Abstract
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.
Il Libro di disegni della Biblioteca Ambrosiana
di Silvio Mara pagine: 45 € 6,00
Abstract
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.
Pietro Maggi a Crema: le tele della demolita chiesa di San Marino
di Licia Carubelli pagine: 8 € 6,00
Abstract
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.
Pittori bresciani nella collezione Cosway a Lodi
di Monja Faraoni pagine: 5 € 6,00
Abstract
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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