ARTE LOMBARDA
Rivista di Storia dell'Arte fondata nel 1955
“Arte Lombarda” è stata fondata nel 1955 da Maria Luisa Gatti Perer e da allora svolge un ruolo insostituibile di aggiornamento scientifico per gli studi sulle opere e sugli artisti che hanno segnato i secoli della cultura artistica lombarda. Importante crocevia della civiltà figurativa e architettonica europea, la Lombardia è da oltre cinquant’anni documentata e illustrata sulle pagine della rivista dai nomi più prestigiosi della storia dell’arte, alternando fascicoli miscellanei a numeri monografici dedicati a convegni internazionali e a resoconti di ricognizioni sistematiche. La rivista è da sempre punto di incontro e dibattito per tutti coloro che in Italia e all’estero svolgono ricerche sul patrimonio artistico lombardo, sui suoi protagonisti e sulla diffusione dei suoi modelli su scala nazionale e internazionale, dall’età antica all’età contemporanea, attraverso studi rigorosi sotto il profilo storico-critico. Pubblicato con scadenza quadrimestrale, ogni numero è accompagnato da un ricco e curato corredo iconografico, in bianco e nero e a colori, e da abstracts in lingua inglese.
I contributi presentati a «Arte Lombarda» sono valutati, in forma anonima, da studiosi competenti per la specifica disciplina (double-blind peer review).
- La rivista è in Fascia A Anvur per / A Anvur Category per l'Area 08:
- 08/C1 Design e progettazione tecnologica dell'architettura
- 08/D1 Progettazione architettonica
- 08/E1 Disegno
- 08/E2 Restauro e storia dell’architettura
- 08/F1 Pianificazione e progettazione urbanistica e territoriale
- La rivista è considerata "rivista scientifica" per i seguenti settori concorsuali Anvur: Area 8, Area 10, Area 11
- La rivista è presente su / Available on: JSTOR, Google Scholar
In questo numero
SOMMARIOEsordi rinascimentali in Sant’Antonio a Morbegno. Attorno alla cappella dei Santi Vincenzo Ferreri e Vincenzo martire
di Alessandro Rovetta
pagine: 24
€ 6,00
Abstract ∨
The observant Dominican convent of Morbegno was founded in 1457 with the assignation of the ancient church dedicated to Saint Anthony and Saint Martha. the restorations of 1982 partially recovered the first frescoes along the southern wall of the church. Dominican saints and blesseds are depicted there, including Andrea Grego of Peschiera, protagonist of the presence of the Ordo Praedicatorum in Valtellina, who died in 1485. In the same year the first cloister of the convent was consecrated by branda Castiglioni. In the ancient chapter house and in the refectory two Crucifixions are preserved, the first signed by Lorenzo De benzi of torno. the enlargement of the church led to the construction of chapels which were progressively decorated with frescoes. the first cycle was painted in 1492 in the Malaguzzini chapel, dedicated to Saint Vincent Ferrer and Saint Vincent the martyr. the frescoes, in a poor state of conservation, show the Glory and Stories of Saint Vincent Ferrer displaying an accurate knowledge of the events and devotion of the Valencian saint. the figurative culture of the cycle derives from the presence and activity of Gottardo and Felice Scotti between Lario and Valtellina. the author proposes to recognize the hand of bartolomeo De benzi. bartolomeo had recently separated from Felice Scotti, with whom he had trained, and was probably forming his own workshop, very active around 1500. the Vincentian cycle also demonstrates an attentive look at the finest language of Giovan Pietro Malacrida of Como, whose catalogue is here retraced, including a Dominican triptych, now in the Diocesan Museum of Warsaw, and a fragment of a fresco, now in the municipal library of Missaglia.
Alvise De Donati: la sua attività a Morbegno e a Gravedona
di Valentina Dell'Orto
pagine: 17
€ 6,00
Abstract ∨
Alvise De Donati was an undisputed protagonist of the renaissance in Valtellina and Alto Lario, where, at the end of the 15th century, he diffused the artistic novelties from Milan. Although his very first activity is partially clouded in mystery, due to the scarcity of documents and signed works, this essay tries to highlight his contribution to the Dominican church of sant’Antonio in Morbegno. In particular, as stated by Giacinto Fontana’s manuscript (1759-60; sondrio, Pio rajna Library), the names of the patrons of the chapel dedicated to st. Peter Martyr and st. Dominic have been disclosed. thanks to the rediscovery of some fresco fragments in the roof space over this chapel, it was possible to recognise the distinctive style of Alvise De Donati and of the members of his workshop. the research also corroborates the role of Alvise in the church of santa Maria delle Grazie in Gravedona (1509), an important Augustinian building, during the renaissance. In particular, thanks to new stylistic and iconographic comparisons with works signed by him, the Stories of Saint Anthony Abbot and the Madonna and Child between the Saints Peter Martyr and John the Baptist have now been ascribed to him with certainty.
Per il cantiere del presbiterio di San Maurizio a Ponte in Valtellina: il caso anomalo dei medaglioni marmorei con gli Apostoli
di Vito Zani
pagine: 11
€ 6,00
Abstract ∨
The incomplete cycle of eight medallions with busts of Apostles in the presbytery of the church of San Maurizio in Ponte in Valtellina represents an episode that is difficult to interpret in the context of late 15th century sculpture in Lombardy. These works are undocumented, but certainly made between 1495 and 1500, during the reconstruction of the church’s presbytery. In the late 19th century, the discovery of part of the documentation related to these building works led to the rediscovery of these valuable sculptures, which immediately became the object of interest by collectors. A consequence was the dispersal of some elements and, in part, also the substantial critical misfortune of these masterpieces, which was otherwise attributable also to their difficult intelligibility. The essay, in addition to presenting a rediscovered element of the cycle, highlights the stylistic relationships of these works with some important coeval sculptures between Milan and Pavia, which are also of great quality but difficult to decipher stylistically. It turns out that the strange mixture of Lombard and Tuscan elements, is likely to be traced back to Alberto Maffioli da Carrara and the composite group of Lombard and Tuscan masters who collaborated with him during his stay in the Duchy of Milan, between 1489 and 1497.
La cappella della Beata Vergine in San Maurizio a Ponte in Valtellina: stato degli studi e novità sull’originario assetto decorativo
di Eugenia Bianchi
pagine: 9
€ 6,00
Abstract ∨
The chapel of the Blessed Virgin in San Maurizio in Ponte in Valtellina was managed by confraternity of the same name, also known as the Scuola Maggiore dei Laici. This paper reviews the studies of the decorative apparatus in his two most important episodes: the wooden altarpiece unanimously attributed to Giacomo Del Maino and workshop, and the frescoes of the vault and walls, for which there is still debate on the attribution or less to Felice Scotti, a painter often documented in Valtellina between the 15th and 16th centuries and present in Ponte on several occasions, in 1498 and in 1505. The current appearance does not correspond to that desired at the end of the 15th century by the confraternity that was based there. Del Maino’s wooden altarpiece now leaning against the back wall, in an obviously not original location, was actually located in the presbytery and in its place was placed a smaller retable containing a statue of the Madonna with the Child Jesus in her arms and surrounded by four ceroferary angels. It is not possible to know with certainty the precise date of the replacement of this last artifact with that of Giacomo Del Maino. However, it is conceivable a moment shortly after 1646 when a redevelopment of the choir took place to adapt it to post-Tridentine regulations.
La cappella della Beata Vergine in San Maurizio a Ponte in Valtellina: artisti e committenti
di Stefania Buganza
pagine: 26
€ 6,00
Abstract ∨
The article focuses on the valuable cycle of frescoes that decorate the chapel of the Blessed Virgin in the church of San Maurizio in Ponte in Valtellina. The chapel was the prerogative over the centuries of the School of the Blessed Virgin, which brought together the major personalities of the important Valtellina municipality, all belonging to the Quadrio family. The discussion of the cycle and the study of its author is preceded by an in-depth analysis of the Scotti family and of the critical controversy that for many decades has involved the frescoes of Ponte, attributed by some scholars to Felice Scotti, son of Giorgio and nephew of the more famous Gottardo. A biography of this master is provided through documents and sources; it is intended as preparatory to the study of the frescoes of San Maurizio and to the recomposition of the Master of Ponte’s catalogue, into which the author enters some frescoes of the church of the Certosa di Pavia, three panels of a polyptych certainly created for a church in the surroundings of Como or in Como itself, and the decorations of one of the late fifteenth-century vaults of the church of Santa Eufemia in Teglio. Through the analysis of these paintings, it is outlined a profile of the master which coincides in many aspects with what we know of Felice Scotti from documents, but above all with the opinion expressed at the end of the eighteenth century by Luigi Lanzi commenting the lost cycle and the altarpiece of the chapel of San Bernardino in Santa Croce in Boscaglia, painted from Scotti in 1495.
Scultura picta in Valtellina (1490-1505 circa)
di Carlo Cairati
pagine: 21
€ 6,00
Abstract ∨
The essay investigates Renaissance wooden sculpture both in Valtellina and in Alto Lario, between about 1490 and 1505. Specifically, the text presents the first results of a work in progress about painted wooden statues, decorated with gilding, that combines new archival researches with a recognition in these territories. The treatment focuses on the works carved by Giacomo and Giovanni Angelo Del Maino in Grosotto, Bellano, Varenna, Sernio, Tirano and Ponte in Valtellina. At the same time are presented new attributions to these sculptors, especially to Giacomo. This is a usefull topic to deal with the study of painting in Valtellina and Alto Lario. The statues were decorated by trusted painters, that collaborated closely with the carvers, such as Felice Scotti or the so called Maestro bramantesco di Grosio, who we can now indentify with the Pavese painter Andrea Clerici.
Appunti sull’altare di Sant’Abbondio nel Duomo di Como
di Cristina Quattrini
pagine: 12
€ 6,00
Abstract ∨
The wooden altar of Sant’Abbondio in the Cathedral of Como, carved by Giovanni Angelo Del Maino around 1514, has always been considered separately from the later paintings by Bernardino Luini and Gaudenzio Ferrari that enclosed it. This essay examines the altar ensemble and proposes a reconstruction of the original arrangement of the wings and a hypothesis on the author of the polychromy of the reliefs by Giovanni Angelo Del Maino.
Novità e considerazioni per Gian Andrea De Magistris in Alta Brianza e in Valtellina
di Simonetta Coppa
pagine: 12
€ 6,00
Abstract ∨
the subject of the paper is the discussion of two fresco-cycles by the painter Gian Andrea De Magistris (known 1482-1529). the first one, in the church of San Martino in Carella (Eupilio), can be dated soon after 1510, the year inscribed on an altar commemorating a series of miracles which caused the summoning of Gian Andrea. the village of Eupilio, situaded in the upper brianza area, between Milan and Como, was the birthplace of the De Magistris family, which enumerates several painters, among them his brother Giacomo and his son Sigismondo. the second cycle, dated 1514 and here for the first time attributed to Gian Andrea De Magistris, is in the church of San Domenico in regoledo (Cosio) near Morbegno, in lower Valtellina. these frescoes are put in comparison with other works of the painter in Eupilio, in the brianza and in the Como area, chronologically placed during the second decade of the 16th century.
Per Gaudenzio Ferrari nel Terziere inferiore. Tradizione e rotture nella pittura del Cinquecento in Valtellina e Alto Lario
di Massimo Romeri
pagine: 16
€ 6,00
Abstract ∨
The aim of this study is to reconstruct the work and the influence of Gaudenzio Ferrari in Terziere inferiore, the Southern part of Valtellina, thanks to some important new findings. The analysis of primary sources and some comparisons between artworks by Gaudenzio and by other artists working in this territory are pivotal to identify and measure his influence. The article on one hand returns a cross-section of the wiggle and diverse artistic context in the 1520s and 1530s in Valtellina, on the other hand brings new assumptions to the discussion. If the artistic tradition depending on Gaudenzio gradually dies out after he leaves the area, in the following decades the persistence of his models is to be searched in artworks made or by artists coming from outside the valley or by solitary followers. To the activity and career of these last disciples, the research tries to add new pieces of information.
Il polittico di Gera Lario. Novità per Ambrogio Arcimboldi
di Giovanna Virgilio
pagine: 16
€ 6,00
Abstract ∨
For a long time, to give an author to the polyptych in the church of San Vincenzo, located in Gera Lario (1547), reference has been made to the typological and stylistic affinities with the one located in Cremeno, Valsassina (1534), which has been initially assigned to Sigismondo De Magistris. At a later date, the discovery of a document kept in the State Archive of Milan gave the opportunity to identify Ambrogio Arcimboldi as the author of the Cremeno altarpiece and to find out that he received the assignment together with De Magistris. Arcimboldi and De Magistris, who usually worked together, probably have influenced a lot of artists all over the Alto Lario and Valtellina and is for this reason that the Gera Lario’s polyptych has been ultimately attributed to someone among these painters. this article intends to demonstrate that the altarpiece has been actually made by Ambrogio Arcimboldi and his workshop. For doing that it is necessary to look back to the origins of the artist trying to widen the number of his works considering not only the ones just known (e.g. the Cremeno altarpiece and the Mystical marriage of Saint Catherine in the Museo del tesoro of Chiavenna), but also the fresco representing the Life of Jesus in the church of San Giorgio in Alzate brianza (made in 1531 in collaboration with De Magistris), the frescos representing Mary on the throne with Saints located in the presbytery of the church of Santa Maria in Ferno (1534) and four canvases representing the Life of Mary (1541, bishop’s Palace in Como) that originally were the doors of a lost wooden altarpiece and, lastly, even the cycle of frescos located into the presbytery of the church of San Vincenzo in Gera.
Il restauro del polittico di Gera Lario. Materiali per una rilettura dell’opera
di Damiano Spinelli
pagine: 10
€ 6,00
Abstract ∨
The restoration of the altarpiece of church of San Vincenzo in Gera Lario, which was completed in December 2022, has shed a new light on this painting. At the same time, it has given the opportunity to study and critically analyze the work thoroughly, integrating and sometimes changing the previous assumptions. Among the main new elements, the discovery of a date written on the predella back has made it possible to limit the chronology of the altarpiece to 1549. Once recovered in the laboratory, the painted panels were subjected to UV fluorescence analysis, aimed at determining the distribution of varnishes and retouches. An infrared reflectographie campaign has made it possible to clearly read the underdrawing and therefore to obtain useful information about the genesis of the painting, the workshop practice and the division of tasks between the master and his collaborators. Finally, the study of the decorative elements, the gilding, the halos and the wooden carpentry has helped to confirm the attribution of the altarpiece to the Milanese Giuseppe Arcimboldi, suggested by Giovanna Virgilio. In fact, notable affinities have emerged between the Gera Lario polyptych and the Cremeno one, certainly autographic.
SEGNALAZIONILa Giuditta di Fede Galizia firmata con il sangue di Oloferne
di Filippo Maria Ferro
pagine: 4
€ 6,00
Abstract ∨
A recently discovered Judith with the head of Holofernes is added to the catalogue of Fede Galizia (ca 1578-1630). the model best known until now is the late mannerist one, replicated in famous examples executed in a period of time between 1596 (date of the canvas now in the ringling Museum in Sarasota) and around 1610. A previous youthful canvas subsequently appeared, published in this same journal in 2019. the Judith presented here, signed with the blood of Holofernes, is located in the second decade of the 17th century and shows a different and advanced phase of Fede, now projected into complexity of the 17th century naturalism, sensitive to the suggestions of Caravaggio and of the contemporary painters gathered around the figure of Federico borromeo.
Le finiture dei chiostri del monastero di Sant’Ambrogio a Milano, sede dell’Università Cattolica del Sacro Cuore
di Vittoria Castoldi, Luciano Formica, Mariacristina Sironi
pagine: 9
€ 6,00
Abstract ∨
The Bramante cloisters, since the eighties of the 20th century, have been the subject of constant care that has led to restoration and maintenance of the façades. This restoration works have ensured optimal conservation, but also allowed careful observation of the material characteristics that, combined with a search for graphic and iconographic documents, allowed to investigate the changes that the surfaces have undergone over time. Two 19th century paintings document the presence of lime washes that hide the terracotta facing of the Ionic cloister that was brought back to view during the works directed by Giovanni Muzio in the ’30s. Careful observation of the surfaces allowed us to identify fragments of previous washes, including one, based on lime white and black pigment, which, before the 19th century, covered not only the cloisters, but also the frescoed vaults of the Aula Magna. The fortuitous recovery of fragments, removed by strappo and transferred on canvas, have provided data of great value on the features of the ancient decoration of the Doric cloister, frescoed in a bright red with highlights.
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