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Giovanna Virgilio

Libri dell'autore

Presenze foreste nella chiesa parrocchiale di Pognana Lario: un’aggiunta al catalogo di Giovanni Battista Innocenzo Colomba digital
formato: Articolo | ARTE LOMBARDA - 2018 - 1-2
Anno: 2018
In the churches of Pognana – a picturesque village overlooking the Lario – there are valuable paintings and precious goldsmiths coming from central Europe. These are works commissioned to important representatives of Baroque painting, such as Januarius Zick, author of the canvas of Saint Joseph and Child (1766) located in the parish church of the Holy Trinity, and to illustrious exponents of the international Rococo, like Carlo Innocenzo Carloni who made, around 1745, the altarpiece with the Madonna and Child with saints Miro and Fedele of the church of San Miro...
€ 6,00
Aggiornamenti sulla ritrattistica di Luigi Reali (con un breve accenno a una raccolta novecentesca di fotografie) digital
formato: Articolo | ARTE LOMBARDA - 2015 - 1-2
Anno: 2015
Luigi Reali is mostly known for his paintings that represent holy subjects. Differently, his work as a portraitist is attested only by the Portrait of Giobbe Marazzi (1644), which was published during the exhibition about the painter organized in Lecco in 1989. Are therefore presented other two paintings that demonstrate the Reali’s experience in this field: a portrait of Federico Borromeo, which was considered lost and in this article is published for the first time, and an unpublished painting representing the priest Giovanni Battista Cattaneo Torriani (1647)...
€ 6,00
Uno sconosciuto dipinto di Filippo Abbiati per il santuario della Madonna del Bosco a Imbersago digital
formato: Articolo | ARTE LOMBARDA - 2012 - 3
Anno: 2012
A previously unknown painting by Filippo Abbiati for the Sanctuary of Madonna del Bosco in Imbersago The article analyzes a late-17th-Century painting recently discovered during the cataloguing of the assets of the Diocese of Milan, and originally displayed on the high altar of the Sanctuary of Madonna del Bosco in Imbersago. The painting depicts the miraculous apparition of the Virgin on May 9, 1617: while resting against a chestnut tree, the Madonna presents three burs to a group of shepherds kneeling at the bottom of the scene, next to an ox, a dog and some sheep. The extremely good quality of the work immediately suggested an attribution to an important master, later identified with Filippo Abbiati, who had worked here together with another painter, a specialist in the rendition of animals and plants. A validation to this hypothesis is given by the will of Alberico Barbiano di Belgiojoso, patron of a chapel in the Sanctuary, dated September 19, 1692, in which he endows a budget in favor of the high altar. The nobleman was actually a patron of Abbiati and another painter named “Merate”, a pupil of Tempesta. It was then possible to make inquiries about this artist, who could probably be identified with Giuseppe Merati, mentor of Tavella, the author of an interesting – yet virtually unknown – cycle of frescoes in the castle of Roncadelle (Brescia).
€ 6,00
Novità su Federico Ferrario nel Lecchese digital
formato: Articolo | ARTE LOMBARDA - 2010 - 3
Anno: 2010
New Discoveries on Federico Ferrario in the Territory of Lecco GIOVANNA VIRGILIO The essay presents a series of new documents allowing to push back the beginning of Federico Ferrario’s activity. The career of this artist is usually structured in two distinct phases: the first (approximately 1750s and 1760s) characterized by a constant presence in the Milanese territory – with brief stays in Monza, Brianza, Orta, Lodi and even Piacenza –, the second (1760s- 1780s) by a frequent activity in the area around Bergamo. His earliest works, approximately dated 1752, were so far identified as those for the churches of San Filippo in Lodi and Sant’Angelo in Milan. Now, two previously unknown paintings in the parish church of San Giovanni Evangelista in Galbiate (Province of Lecco) push back the beginning of Ferrario’s career – which still presents some black spots, especially in the early stages – by a decade. The two pendants represent respectively, the Adoration of the Magi and the Last Supper, and they are already documented in 1742. The essay also introduces other artworks that could be attributed based on style to the Milanese painter, found in the territory comprised among Abbadia Lariana, Mandello del Lario and Lierna, on the East bank of the Lecco branch of Lake Como.
€ 6,00
 

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