Tutti i libri editi da Vita e Pensiero - libri Arte Lombarda Vita e Pensiero (7)

Vita e Pensiero

Inediti affreschi in Santa Clara a Pavia: studi alla luce della circolazione di modelli seriali nella Lombardia di fine Quattrocento digital
formato: Articolo | ARTE LOMBARDA - 2018 - 3
Anno: 2018
This article discusses hitherto unpublished frescos from an observant Poor Clares monastery in Pavia, which date back to the late fifteenth century. An historical and iconographic analysis demonstrates that there was a strong bond with the local Observant convent of San Giacomo and with other male Observant houses in Northern Italy, particularly concerning a series of paintings dedicated to the Passion of Christ...
€ 6,00
La famiglia Baldironi tra committenza e imprese figurative: la villa di Lissone e la pala di Federico Panza digital
formato: Articolo | ARTE LOMBARDA - 2018 - 3
Anno: 2018
Among the Baldironi family members, family involved in business trade in the Fifteenth and Sixteenth century, abbot Antonio (1628-1689) was one of the most relevant figures, who was been for a few years the agent of the State of Milan Congregation in Madrid. Thanks to him, his nephew Giuseppe (1635-1685) could reach the position of general financial Mayor and so begin the process of ennoblement of the family, shown also by the decoration of the villa own in Lissone...
€ 6,00
L’Amor sacro che calpesta l’Amor profano del Montalto per la chiesa di San Domenico a Cremona digital
formato: Articolo | ARTE LOMBARDA - 2018 - 3
Anno: 2018
The essay aims to offer a new reading of the canvas known as L’Amor sacro che calpesta l’Amor profano (Milan, Superti Furga collection) – a youthful work painted by Giovanni Stefano Danedi known as Montalto – after the discovering of the preparatory drawing and of a painting entitled Amor vincit omnia (Perugia, antiques market)...
€ 6,00
Per il Monte di Petrarca di Giuseppe Bossi digital
formato: Articolo | ARTE LOMBARDA - 2018 - 3
Anno: 2018
In 1806 Giuseppe Bossi (1777-1815) was commissioned a series of paintings by Gaetano Battaglia, a Milanese Napoleonic commander, in order to praise the literary champions of the Italian Nation. The Scuola letteraria italiana (Italian literary school) was supposed to have been made up of the Schools (or Apotheosis or Mounts) of Dante, Petrarca, Boccaccio and Ariosto...
€ 6,00
«Deplorevoli accidenti». Il viaggio periglioso della pala di Castenedolo di Francesco Hayez all’Esposizione universale di Parigi del 1867 digital
formato: Articolo | ARTE LOMBARDA - 2018 - 3
Anno: 2018
The large canvas The Martyrdom of St. Bartholomew by Francesco Hayez was exposed in the Italian section of the Universal Exhibition in Paris in 1867. It had been painted a few years before, for the parish church of Castenedolo (Brescia, Italy) and the occasion offered it a great opportunity to be admired by the whole world. But the exhibition resulted in a nightmare. The canvas was not only seriously damaged during the journey, but while removed from the wall it was largely torn in the lower part...
€ 6,00
ARTE LOMBARDA - 2011 - 1-2 digital
formato: Fascicolo digitale
Anno: 2011
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ARTE LOMBARDA - 2011 - 3 digital
formato: Fascicolo digitale
Anno: 2011
Architettura e spazio liturgico degli umiliati: a proposito di tre manoscritti dell'Ambrosiana digital
formato: Articolo | ARTE LOMBARDA - 2011 - 1-2
Anno: 2011
The article focuses on miniatures from three manuscripts preserved at Biblioteca Ambrosiana – G 310 inf., G 302 inf. and Trotti 41 – with the Chronicle of the Humiliati by Giovanni da Brera (originally from 1419) in a shortened 1421 version. These pictures offer an opportunity to delve into the relationship between architecture and liturgical space in the churches of the Humiliati, a field of research which has not been thoroughly considered. The miniatures illustrate the text, witnessing the architecture of these churches and its connection with the order’s liturgy. For instance, the miniature illustrating the description of the daily divine office shows a partition wall between the liturgical space occupied by the friars and that occupied by the nuns. If related to some readings from historical documents on the ecclesiastical practice of the Humiliati, the iconography of these illustrations allows us to assume the presence in the order’s churches of divisions between contiguous liturgical spaces, connected to the same separation between friars and nuns on which the monastery life was based.
€ 6,00
Il 'rustico' in Giulio Romano: alcuni casi emblematici digital
formato: Articolo | ARTE LOMBARDA - 2011 - 1-2
Anno: 2011
The large use of the ‘rustic order’ in architectural projects and realizations by Giulio Romano is a formal leit motiv displaying a varied range of meanings. In the brilliant drawings for the Porta del Te such stylistic solution is shown in the combination of Doric order and rustication, whereas in the Rustica of the Ducal Palace in Mantua, Pippi takes its expressive potency to a new level through a nearly paroxysmal use. In articulating the façade of his last house Mantua as a fake ‘galleria’, almost as if trying to stress its function as a receptacle for his art and antiquity collection – also remembered by Vasari – Giulio seems to make reference not to the ancient temple or domus, but rather to the thick, pressingly-paced arcades of Roman aqueducts, thus following the example of the façade of Palazzo Pitti in Florence, whose frankness and grandiosity are even closer to such precedent.
€ 6,00
Un disegno per il portale di palazzo Vidoni a Cremona digital
formato: Articolo | ARTE LOMBARDA - 2011 - 1-2
Anno: 2011
The article connects a drawing from Biblioteca Ambrosiana in Milan (F 251 inf. D 310) to the portal of Palazzo Vidoni in Cremona, thus making it the only sheet linked to the palace, which was built in the 1560s. The analysis of similarities and differences between the drawing and the actual portal – together with an inquiry about the new information deducible from the sheet and its possible formal references – clearly identifies the former as a project for the latter. After taking stock of the scholars’ different opinions on the authorship of Palazzo Vidoni, the article suggests the possibility – supported by the drawing – of a possible collaboration between the brothers Giulio and Antonio Campi: as a matter of fact, they were the only architects of the time in Cremona who had the up-to-date, innovative culture inferable from the formal and stylistic components of the building. More specifically, thanks to a number of graphic and formal elements, Giulio is proposed as the possible author of the drawing.
€ 6,00
Un dipinto di Antonio Campi alla Pinacoteca Vaticana digital
formato: Articolo | ARTE LOMBARDA - 2011 - 1-2
Anno: 2011
A rather neglected small panel with the Stigmata of St. Francis, previously attributed to Girolamo Muziano and his circle (or dubiously associated with Marcello Venusti), actually shows decisive formal similarities to Antonio Campi’s production. The piece is currently displayed in room XI in the Pinacoteca Vaticana (inv. 40370). Its intense pathetism and striking realism, very far from Muziano’s elegant mannerism, were probably the causes of its little appreciation among critics; if properly considered, these characters, together with the peculiar pre-Caravaggian side lighting, support the attribution to the painter from Cremona. Several stylistic elements allow us to situate it in the time-span between the Beheading of St. John the Baptist for San Paolo Converso in Milan (1571) and the Prayer in the Garden for Santa Maria della Noce in Inverigo (1577). Those were years of hectic activity for the artist, who was well integrated in the local milieu of religious and secular patrons, and engaged in a fruitful confrontation with the Leonardesque tradition, as demonstrated by the formal reference to Cesare da Sesto’s Salome in the altarpiece with the Beheading of St. John the Baptist in San Sigismondo in Cremona.
€ 6,00
Gli Scotti di Laino: precisazioni e nuove acquisizioni digital
formato: Articolo | ARTE LOMBARDA - 2011 - 1-2
Anno: 2011
The article offers a coherent picture of the activity of the artists belonging to the Scotti family from Laino: a thoroughly reconstructed bibliography and further archive inquiries allow to establish a corpus of artworks made in Italy, Germany, Czech Republic and Russia, and also to sketch out the biographies of these artists and their professional connections, especially within the area of Val d’Intelvi. Twelve artists – a stucco decorator, an architect and ten painters – go across five generations from the 17th to the 19th century. This research clarifies the role of the different family members – making up for several wrong assumptions by the local historiography – and solves specific problems of attribution, as well as giving important insight of the artists’ activity and some previously unknown works. Among the most significant contributions: the reconstruction of a nucleus of works by Giacomo Scotti, the discovery of new clues on the activity of Giovanni Pietro Scotti in Prague, Brescia and Turin, and of Giosuè Scotti in Bergamo, Milan and Bellagio, the finding of a previously unknown painting by Bartolomeo Scotti in Manerba del Garda, the redefinition of the corpus of works by Carlo Scotti with the addition of newly-discovered early paintings in Bovegno and Villa Carcina.
€ 6,00

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