Due quadri nuovi e un po’ d’ordine per Antonio Busca digital
formato: Articolo | ARTE LOMBARDA - 2017 - 3
Antonio Busca was one of the most prominent painters of Spanish Milan in the second half of the seventeenth Century. It is thanks to him, together with the sculptor Dionigi Bussola, if the Accademia Ambrosiana was able to reopen in 1668, after almost forty years of inactivity. Reduced by at least one Roman journey, carried out around 1650, Busca attempted to renew the Milanese painting tradition, mixing the classicism of painting encountered in central Italy with that of the painters who had worked in Milan at the time of Federico Borromeo and the first Accademia Ambrosiana: with preference above all for the works of Daniele Crespi and Camillo Procaccini. Despite the prominent role played by the artist in the Lombard context, still missing its complete and reliable biography, and is often hard to date even with approximation his works, in the absence of certain documents and data. Starting from the attribution of two unpublished paintings, preserved in the parish church of Cernusco Lombardone (in the province of Lecco) and of which the provenance of the Borromeo d’Angera collection was recognized, this article tries to put some order among the data emerging from research in recent decades, proposing a chronological seriation of the known works of Busca, particularly also with regard to his prolific graphic production.
Recuperi e restauri a San Giorgio su Legnano: l’Assunta di Bernardino Campi e Giovanni Battista Armenini (con una postilla per Filippo Abbiati) digital
formato: Articolo | ARTE LOMBARDA - 2012 - 3
Recoveries and restorations in San Giorgio su Legnano: Bernardino Campi and Giovanni Battista Armenini’s Assunta (with a note on Filippo Abbiati) Through the examination of documents and sources of the time, the author could identify the Assumption of the Virgin on board in the parish church of San Giorgio su Legnano – a small town not far from Milan, on the route to Varese – as the remaining part of an altarpiece made according to a project by (and with notable interventions of) Bernardino Campi and Giovanni Battista Armenini, painter and art writer from Faenza. Until now, only one of work by Armenini was known, another Assumption of the Virgin, now part of the collection of the Pinacoteca Civica in Faenza. This painting is also taken into consideration in the article, as the author analyzes its style with the intention of tracing its sources and proposing a possible date of execution. In the appendix, another painting from the church of San Giorgio su Legnano, formerly attributed to Andrea Pozzo, is more properly identified as the work of Filippo Abbiati, thus suggesting further thoughts on local patronage between late-17th and early 18th Century.