Libri di Alessandro Rovetta - libri Arte Lombarda Vita e Pensiero

Alessandro Rovetta

Alessandro Rovetta
autore
Vita e Pensiero

Alessandro Rovetta è Professore Ordinario di Museologia e critica artistica e del restauro dell’Università Cattolica del Sacro Cuore di Milano e Coordinatore didattico dei corsi di laurea in Scienze dei beni culturali e di Archeologia e Storia dell'arte. Membro del consiglio direttivo della Scuola di Dottorato in Studi Umanistici - Tradizione e contemporaneità, dal 2009 è Direttore della rivista scientifica Arte Lombarda.

Membro del Consiglio Direttivo della Classe di Studi Borromaici, presso l'Accademia Ambrosiana, è anche Consulente scientifico della Pinacoteca Ambrosiana (della quale fino al 2011 ha curato il catalogo scientifico), Membro del Direttivo della Società di Storia della Critica d'Arte (2006-2010 e dal 2016), Socio Ordinario dell'ente Raccolta Vinciana (Milano), Membro del Comitato Scientifico TeCLa (temi di Critica e di Letteratura artistica) – Repertorio, Membro del Comitato Scientifico della collana Monumenta Documenta e Membro del Comitato Scientifico della collana Museo Diocesano, studi e restauri (Palermo).

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Titoli dell'autore

Esordi rinascimentali in Sant’Antonio a Morbegno. Attorno alla cappella dei Santi Vincenzo Ferreri e Vincenzo martire digital Esordi rinascimentali in Sant’Antonio a Morbegno.
Attorno alla cappella dei Santi Vincenzo Ferreri e Vincenzo martire
Anno: 2023
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.
€ 6,00
Estratti filaretiani di primo Ottocento digital Estratti filaretiani di primo Ottocento
Anno: 2009
Among the manuscripts of Pietro Mazzucchelli, ‘prefect’ of the Ambrosiana from 1823 to 1829, is an unpublished dossier containing materials related with Filarete’s treatise and the Latin version by Antonio Bonfini. The dossier includes the transcription of excerpts from Filarete’s text derived from the missing Trivulzianus codex, and is probably a draft of the booklet kept in the archives of Ospedale Maggiore in Milan, and known as Estratti del codice di Antonio Averulino… The selection of passages from Filarete mainly relates to mentioned artists and the project for the Spedale dei Poveri, as is understandable given the use of the dossier and Mazzucchelli’s interest in erudite matters. Mazzucchelli himself noted several passages of the transcription, especially the parts regarding artists, in order to better identify them through his bibliographic resources. Also of great interest are the drawings copied directly from parts of the Trivulzianus concerning the hospital, which give us a fundamental if rough glimpse of the codex’s iconographic setting. The dossier also takes into consideration the Latin version of the treatise and questions the information found in Mountfaucon testifying the presence of a manuscript of Bonfini’s translation in the Ambrosiana.
€ 6,00
 

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