Tutti i libri editi da Vita e Pensiero - libri Arte Lombarda Vita e Pensiero (26)

Vita e Pensiero

Andrea Pozzo nelle lettere di Giovanni Battista Barella a Livio Odescalchi: novità e precisazioni sulle commissioni (mancate) in San Sebastiano a Milano e in Palazzo Reale a Torino digital
formato: Articolo | ARTE LOMBARDA - 2012 - 3
Anno: 2012
Andrea Pozzo in Giovanni Battista Barella’s letters to Livio Odescalchi: clarifications and new discoveries on the (failed) commissions for San Sebastiano in Milan and Turin’s Royal Palace The essay describes Andrea Pozzo’s early years in Rome (1681-1685), according to the information found in a number of letters written between December 10, 1681 and January 17, 1685 by Jesuit Giovanni Battista Barella, a resident of the San Fedele convent in Milan, and addressed to Livio Odescalchi, who had been convinced to settle in Rome by his father Carlo and his uncle Benedetto, Pope Innocent XI since 1676. These letters, kept in the Odescalchi Archive, currently part of the Archivio di Stato in Rome, are just a small portion of a vast and interesting correspondence – ranging between 1677 and 1686 and regretfully limited to incoming letters – offering a lively perspective on Milanese society of the time, a subject about which the recipient was particularly curious. The letters regarding Andrea Pozzo are focused on Barella’s attempt – prompted by the delegates of the Temple of San Sebastiano– to persuade the artist to move back to Milan and decorate the cupola of the church, as anticipated in a contract signed before the his departure in 1681. The Jesuit Father seeks help from Livio, whose influence, however, would eventually fail to convince the artist. The same unsuccessful result would later be obtained by other requests from the Jesuits of Turin and Vittorio Amedeo, Duke of Savoy, both aimed at persuading Pozzo to come to Turin, respectively to complete the decoration for the church of Santi Martiri and to work on one of the galleries of the Royal Palace.
€ 6,00
Sulla formazione di Arturo Tosi digital
formato: Articolo | ARTE LOMBARDA - 2012 - 3
Anno: 2012
On Arturo Tosi’s artistic education Despite his important role in artistic life in Italy from the 1920s – both as a member of the committee of the “Novecento” movement, supported by his friend Margherita Sarfatti, and as a respected and decorated artist – Arturo Tosi (1871-1956) still leaves many unanswered questions regarding his career and particularly his early years. By joining the information found in newly-discovered documents together with that deduced from the bibliography, the article fills the void concerning Tosi’s artistic education, his studies, his beginnings as a painter and the relationships with other artists. Through the scrutiny of the painter’s correspondence, it is possible to reveal his network of connections and friendships, also dating several of his traveling experiences. Such data, together with the finding of previously unknown works from the 1890s, allows the author to better clarify Tosi’s language and his debts towards other masters, both ancient and modern, clearly visible in his paintings from the “alcoholic period”, a term used since 1951 to indicate the artist’s “expressionist” phase (1894-1910).
€ 6,00
Riguardo a un «bel gonfalone dipinto dal Lucchese» a Carpenedolo digital
formato: Articolo | ARTE LOMBARDA - 2012 - 3
Anno: 2012
On a «bel gonfalone dipinto dal Lucchese» in Carpenedolo The old pieve of Santa Maria dell’Annunciazione in Carpenedolo (Brescia) houses an Annunciation on canvas, here attributed to Pietro Ricchi, known as “Lucchese” (Lucca, 1606 – Udine, 1675). The painting has been long ignored by art historians, due perhaps to its less-thanideal state of preservation until its restoration in 1993. New inquiries allowed the author to identify the work as the “beautiful gonfalone painted by Lucchese”, witnessed by Francesco Paglia in the parish church of Carpenedolo in the late 17th Century, and considered lost until now. The presence of two more paintings on canvas by Ricchi in Carpenedolo (a St. Anthony and a Madonna with Child) supports the hypothesis that the “gonfalone” seen by Paglia is actually the work here analyzed, which would constitute the only plausible explanation for its current location.
Scarica
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
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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