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Vita e Pensiero

Bramante dopo Malaguzzi Valeri digital
formato: Articolo | ARTE LOMBARDA - 2013 - 1
Anno: 2013
The author looks at the research carried out since Malaguzzi Valeri’s second volume on Bramante and Leonardo (1915) noting particularly that the list of buildings attributed to him has hardly changed, but that important discoveries have been made in other respects, particularly of the Bergamo frescoes, of the fact that Gaspare Visconti owned the house in which the Uomini d’Arme and Democritus and Heraclitus were painted; and of whether some or all of the paintings usually attributed to Bramante should be transferred to Bramantino. Malaguzzi Valeri’s skepticism about Bramante’s early life and his possible relationship to Fra Carnevale and the painters of the Nicchia di San Bernardino are considered. Bramante’s relationship with Francesco di Giorgio is examined with the conclusion that the planning of San Bernardino in Urbino must antedate the death of Federico da Montefeltro in 1482 and, more broadly, that a number of the architectural details of the ducal palazzo at Urbino built under Laurana and Francesco di Giorgio probably owe much to the illustrious basilica of San Salvatore at Spoleto. The attribution to Bramante of a project-drawing for Santa Maria presso San Satiro is rediscussed as well as the thorny problem of the original fenestration of the church. The discovery of a copy of a document for the Duomo in Pavia as well as a recent suggestion concerning Bramante’s original plan for the church are weighed-up. Documents recently discovered by Eduardo Rossetti form the basis for the attribution to Bramante of the project to face the ex- Arcimboldo palace on the Corso Magenta and another block on the Via Terraggio with plinths, then semicolumns superimposed over pilasters to left and right thus accounting for the many examples of the use of the same architectural device from the late 1480’s in Lombardy in many different media: the arrangement was taken by Bramante to Rome where it appeared on the second story of the lower courtyard of the Belvedere and on the exterior of St. Peter’s, and in many other places throughout the 16th century and afterwards. Santa Maria delle Grazie is considered on the basis of recent investigations by Luisa Giordano in an attempt to clarify the story of Beatrice’s d’Este’s tomb and those of others, and the arrangements of the wooden stalls in the new choir. Finally the significance of a reference in Biagio Guenzati’s life of Federico Borromeo, which evidently concerns a project to construct a third side to the Canonica of Sant’Ambrogio, is analysed.
€ 6,00
«E molti ne aveva summa deletatione». Architetture, spettacoli e feste romane nel racconto e nei disegni del Taccuino di Salisburgo digital
formato: Articolo | ARTE LOMBARDA - 2013 - 1
Anno: 2013
The codex includes a description and depiction of famous monuments of ancient Rome and the Arena of Verona. The piece can be dated to the last two decades of the 15th Century, thanks to the direct account of the partial destruction of the so-called Septizodium and the killing of Duke Galeazzo Maria Sforza, both in 1476; the mentioning of Galeazzo Maria’s death is also one of the elements attesting the Lombard origin of the manuscript. The described monuments are the Colosseum, the Arena of Verona, the Circus of Maxentius, the Stadium of Domitian, Trajan’s Column, the Arch of Janus, the Vatican Obelisk, the Septizodium, the Circus Maximus, the Sanctuary of Palestrina, the Baths of Diocletian, of Caracalla and others, and a theatre. The drawings show a method of representation similar to that of Filarete, displaying a suggestive use of perspective, as well as very early examples of architectural sketches combining elevation and floor plan. The repertoire of architectural details is very rich: frames, capitals and bases. The buildings are articulated in a proportional system, with no indication of measurements, with one exception in which the chosen metric system is the one in use in Milan. While references to Alberti’s theories abound, very few words are dedicated to architectural annotations, and more space is given to the functions and activities of each building. Historical thoroughness prevails on any artistic or technical purpose, even though the drawings themselves show remarkable accuracy and a proper use of instruments, which accounts for the author’s knowledge of representational techniques. The codex has the form of a brief treatise, and the drawings might actually be copies, a possibility suggested by the fact that included in the Uffizi collection are several plates derived form a common source, supposedly a book of models. The author is well read in both Latin and vernacular sources for Roman history: he describes gladiatorial games and circuses in detail, as well as races, naumachiae and battle simulations, but also baths and shows, often described adapting categories from Renaissance theater. The description of a feast almost identical to the famous one held on the occasion of the wedding of Costanzo Sforza di Pesaro and Camilla Marzano d’Aragona (1475), also recounted in the chronicles of the time, supports the attribution of the codex to the Milan milieu of the Sforza period, since representatives of Milanese branch of the noble family had taken part to the celebration. The apparent connection to the court, the erudite, descriptive and yet not at all philological account suggest a likely attribution of the work to one of the time’s humanists appointed to diplomatic and cultural tasks, such as Bergonzio Botta.
€ 6,00
ARTE LOMBARDA. Abbonamento annuale 2017. Privati Italia carta + web digital
formato: Abbonamento cartaceo + digitale | editore: Vita e Pensiero | anno: 2017
Anno: 2017
Abbonamento annuale alla rivista Arte Lombarda
€ 256,00
ARTE LOMBARDA. Abbonamento annuale 2016. Privati Italia carta + web digital
formato: Abbonamento cartaceo + digitale | editore: Vita e Pensiero | anno: 2016
Anno: 2016
Abbonamento annuale alla rivista Arte Lombarda
ARTE LOMBARDA. Abbonamento annuale 2015. Privati Italia carta + web digital
formato: Abbonamento cartaceo + digitale | editore: Vita e Pensiero | anno: 2015
Anno: 2015
Abbonamento annuale alla rivista Arte Lombarda, Rivista di Storia dell'arte fondata nel 1955.
ARTE LOMBARDA. Abbonamento annuale 2014. Privati Italia carta + web digital
formato: Abbonamento cartaceo + digitale | editore: Vita e Pensiero | anno: 2014
Anno: 2014
Abbonamento annuale alla rivista
ARTE LOMBARDA. Abbonamento annuale 2009. Privati Italia carta + web digital
formato: Abbonamento cartaceo + digitale | editore: Vita e Pensiero | anno: 2009
Anno: 2009
Abbonamento annuale alla rivista

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