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Vita e Pensiero

Un nucleo di opere d'arte lombarda del Musée des Beaux-Arts di Bordeaux, dalla collezione del marchese di Lacaze digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Anno: 2013
The essay is based on a research conducted for the workshop “Lombard artworks in Italian and foreign museum”...
€ 6,00
ARTE LOMBARDA - 2013 - 2-3 digital
formato: Fascicolo digitale
Anno: 2013
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L'oratorio certosino del castello di San Colombano al Lambro: novità su Bernardino Campi e una proposta di identificazione per "Jacobus Proffit Parisiensis" digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Anno: 2013
The essay attempts an overall description of the Carthusian oratory of Mary Magdalene in San Colombano al Lambro, destroyed in 1846. The mural paintings and the altarpiece, the work of Cremona native Bernardino Campi and his workshop (1579-1581) were partially preserved, and several fragments were acquired by Pinacoteca di Brera between 1908 and 1913. Previously unpublished letters from the Parish archive of San Colombano made it possible to retrace the facts surrounding the detachments. A comparison between these and the remaining sinopias, now walled up inside a chapel of the church of San Colombano, makes it possible to reconstruct the original decoration. Moreover, the description of the oratory made by Alessandro Lamo in 1584 and that found in a document dated 1831, just before the demolition, constitute an important base not only for hypotheses regarding the structure and size of the building, but also for a possible reconstruction of the seven paintings, with episodes from the life of Mary Magdalene, that decorated its walls. The research also brought to the discovery of the 17th-Century altar, with an antependium signed «Jacobus Proffit Parisiensis», a so far relatively unknown artist who may also be the author of a newly attributed work at the Certosa of Pavia.
€ 6,00
Dibattito Trentanove per la facciata del Duomo di Milano digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Anno: 2013
Thanks to the thirty-eight “opinions” written between August 30, 1607 and 1682, and recently republished (2003), the façade of the Duomo of Milan is the best documented – both through drawings and writings – among all 17th-Century architectural projects in Italy. The authors now present an unpublished thirty-ninth opinion, undated and unsigned, retrieved in the Archivio Storico Civico in Milan. It is neither the theoretical essay by an architect based on the best-known sources of the specific literature, nor a technical contribution discussing details and dimensions of the architectonic structure. Rather, it appears to be a text compiled by a clergyman, with very specific stances on several aspects of the project, and some brief examples of buildings in Bologna, Rome and Naples.
€ 6,00
Gli affreschi dei fratelli Natali nella chiesa di San Giacomo a Soncino digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Anno: 2013
The essay presents the results of a study conducted upon the recently restored frescoes by the Natali brothers in the church of San Giacomo in Soncino (1695-96). New discoveries from contemporary sources and a document found in the church archive finally allow an all-around knowledge of the cycle. The analysis of Giuseppe Natali’s quadrature decorations, which compares them to some of the artist’s most famous works, is paralleled by an inquiry on the activity of the two unknown figure painters who took part to the project, Antonio Sirone and Pietro Ferrari, the latter evidently connected with the production of Francesco Boccaccino. The author also suggests a new interpretation of the iconography, in which the main characters of the whole representation are the virtues mentioned by St. Thomas Aquinas in his Summa Theologica, a clear benchmark for the Dominican friars of the convent of San Giacomo. Finally, the author presents a newly retrieved inventory of the properties owned by the church and the convent at the time of the Napoleonic suppression of 1798, now kept in the Archivio di Stato in Milan.
€ 6,00
Per Giuseppe Bossi conoscitore: memorie dai soggiorni a Roma del 1810 digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Anno: 2013
Renown painter Giuseppe Bossi (1777-1815) shaped his experience as a connoisseur by personally seeing the artworks, and during several journeys through Italy. The unpublished memoirs from his stay in Rome in 1810 constitute an insight on his considerations on Leonardo da Vinci, Raphael and, episodically, Michelangelo. After reporting the presumed theft of Leonardo’s Libro di pittura (cod. Lat. Urb. 1270), Bossi works to dismantle the traditional attributions of works to the artist, starting with a critical analysis of the notorious frescoed lunette from the convent of Sant’Onofrio al Gianicolo. The individuation of Raphaelian elements brings to the identification of a possible preparatory sketch carelessly attributed to the painter from Urbino. The episode exemplifies the miscues of Bossi’s early attribution practice on Raphael’s drawings, and particularly on the corpus of the Libretto veneziano, now at the Cabinet of Drawings of the Venice Academy. Following Bossi along his Roman journey, we find him innovatively interested in Michelangelo’s production as a poet, which he examines on the manuscripts, with a striking philological approach.
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"L’umorismo, in ogni fatto, cerca e trova il lato non conosciuto". Sebastiano De Albertis caricaturista digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Anno: 2013
The paintings of Sebastiano De Albertis (Milan, 1828-1897), and particularly those depicting...
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Achille Alberti, un protagonista della scultura lombarda di fine Ottocento. Alcune riflessioni sulla prima attività digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Anno: 2013
Milanese sculptor Achille Alberti (1860-1943) has never been the object of a systematic, in-depth study. The essay attempts to fill such void by casting some light on the artist’s early activity, based on his works and on the prevalently unpublished archive materials he left to the Archivio dell’Ospedale Maggiore-Ca’ Granda in Milan. Alberti was a discreet protagonist of cultural life in Milan at the turn of the Century: although he did not possess the temper of the innovator, he was particularly apt – especially during his youth – in interpreting the trends of his cultural milieu. It is of particular interest to observe how he adopted and embraced the spirit of Verismo and its attempt to depict reality as a phenomenon. Such style, though often associated with a more traditional iconography, is taken to an extreme in works such as the famous Sloth exhibited at the Triennale of Milan in 1891.
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Note sulla scultura di Attilio Selva nel cortile d'onore del Palazzo di Giustizia di Milano digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Anno: 2013
During a documentary research aimed at reconstructing the history of Palazzo di Giustizia in Milan – the work of architect Marcello Piacentini – and its furnishings, the authors retrieved several unpublished sources, through which they were able to trace back the phases of planning and building, as well as to finally clarify the facts surrounding the large statue representing Justice, commissioned to Attilio Selva for the Courtyard of Honour. Thanks to a comparison of documents, photographs and accounts from the sculptor’s archive in Rome, it was possible to trace in detail the tormented story of this artwork, from its commission to its realization.
€ 6,00
Rivarolo Mantovano. Costruzione e manutenzione del borgo murato digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Anno: 2013
Rivarolo Mantovano belongs to a territory originally called Mantovano Nuovo (beyond the river Oglio), which was not reclaimed by the Gonzaga family before the 1410s. After the death of Ludovico II in 1478, the territory was divided among his heirs in several small states subordinate to the Marquisate of Mantua. After becoming the property of ambitious warrior rulers, the rural centers were equipped with fortifications and ennobled with the rearrangement of castles, strongholds, palaces, temples, roads and entire quarters. Surrounded by ramparts, crenellated walls or fortified fences, these hamlets still constitute excellent examples of Renaissance urban planning, which deserve to be thoroughly studied. Through the reading of coeval sources and accounts, and the aid of original cadastral maps, the author was able to include Rivarolo in this specific context: its fortification, formerly dated to the latter half of the 16th Century and attributed to Vespasiano Gonzaga, was actually built around the half of the 15th Century.
€ 6,00
Un nucleo di opere d'arte lombarda del Musée des Beaux-Arts di Bordeaux, dalla collezione del marchese di Lacaze digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Anno: 2013
The essay traces the evolution of the parochial church of Ss. Giacomo e Filippo in Carate Urio,...
€ 6,00

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