Tutti i libri editi da Vita e Pensiero - libri Arte Lombarda Vita e Pensiero (8)

Vita e Pensiero

Precisazioni su Salvator Rosa a Milano (e una data per Francesco Cairo) digital
formato: Articolo | ARTE LOMBARDA - 2011 - 1-2
Anno: 2011
The article traces the origins of Salvator Rosa’s Milanese commissions through an ordinal alaysis of visual and archive documents, including published sources of the time, so far never connected to a study of this kind. Such discoveries allow to narrow down the context of the commission to Rosa and Francesco Cairo for the church of San Giovanni Decollato, known as «alle Case Rotte» («by the Dismantled Houses»), but also to establish June 21, 1658 as the exact date when the altarpiece with St. Aloysius Gonzaga Receiving Communion From St. Charles Borromeo – painted by Cairo for the Jesuits of Santa Maria in Brera – was publicly displayed.
€ 6,00
«Per restare Civitatis ornamentum». Il progetto storico di Ernesto Nathan Rogers nel Museo d’Arte antica del Castello Sforzesco di Milano (1947-1956) digital
formato: Articolo | ARTE LOMBARDA - 2011 - 1-2
Anno: 2011
The exhibition plan for the Ancient Art Museum at Castello Sforzesco, developed by BBPR between 1947 and 1956, is part of a general process of re-organization and renewal of museums carried out in Italy after World War II, in order to educate a larger and more varied public in the values of art and history. Ernesto Nathan Rogers, who had been reflecting theoretically on those values since the Thirties, finally had a chance to pass them on to visitors through specifically dedicated planning solutions elaborated with BBPR. The task presented a number of stiff challenges: how could the architectural firm combine the modernity of their shapes, materials and technical solutions with those of Castello Sforzesco, inherited from Beltrami, and correspondingly present the public with history’s continuous journey from past to present? How could they establish a continuity among collections made up of fragments, putting them into a lively, comprehensible narrative? And finally – a problem concerning Rogers more than anyone else – how could they capitalize on this occasion to test the effectiveness of many theoretical assumptions, and perhaps to formulate new ones ‘on the field’? A comparative study of Rogers’ writings and the most significant solutions for the museum allows to analyze the strategies adopted by BBPR to meet those challenges, while at the same time casting some light on the importance of Castello Sforzesco in the context of Italian museography.
€ 6,00
Giacomo Manzù nelle carte dell'archivio Gritti digital
formato: Articolo | ARTE LOMBARDA - 2011 - 1-2
Anno: 2011
Through the scrutiny of the archive documents from the workshop of the Grittis – a family of wood carvers and restorers from Bergamo – the article gives new information on the wood sculpture and furniture production of Giacomo Manzù. A schoolmate of Angelo Gritti and a close friend of his son Eugenio, Manzù projected the furniture for the houses of the Lampugnani family and the liturgical ornaments for the Cappella della Pace – commissioned by Mgr. De Luca for his own residence – with the help of the workshop, which had a long tradition in cabinetmaking. Even though the artist had some experience in the technique of wood sculpting, he actually created his works in ebony and Swiss pine through the craftsmanship of Angelo and Eugenio Gritti. Cardinal, Lying Woman, Guantanamera, Maternity, Woman Looking were all produced between the sculptor’s atelier in Ardea and the Gritti workshop in Bergamo. The creative process began with a plaster model made by Manzù, then developed through the study of volumes and the assembling of the wood pieces for the sculptural block, made by the Grittis; finally, the sculpture was completed by the Grittis under the demanding supervision of Manzù, who would later appropriately acknowledge the key role the workshop had in the creation of his masterpieces.
€ 6,00
Danese 1957-1991. Un paradigma del design senza tempo digital
formato: Articolo | ARTE LOMBARDA - 2011 - 1-2
Anno: 2011
Among the historic Italian design factories, Danese stood out for being, more than others, an experimental laboratory for design projecting. Bruno Danese and his wife Jacqueline Vodoz gave life not just to a business, but more importantly to an "editor" which interpreted the production of objects as a cultural operation. Even if such a story would be impossible today, Danese provided us with an original operational model, several aspects of which make it as lively as it has ever been: for instance, the determination in pursuing an integration of art and design, and the opening of new possibilities of development for contemporary crafts. These choices anticipated tendencies such as the "New Handicraft" as it has emerged since the Eighties, or the very recent phenomenon of the Small Editions and other industrial design companies that frequently use craftsman-like system of production, or even the modern object galleries interested in limited edition series and unique articles of design.
€ 6,00
«Magister Dux Aymo pictor de Papia». Un pittore pavese in Piemonte (notizie 1417-1444) digital
formato: Articolo | ARTE LOMBARDA - 2011 - 3
Anno: 2011
«Magister Duxamo pictor de Papia»: a painter from Pavia in Piedmont (facts from 1417 to 1444) CLAUDIO BERTOLOTTO - NICOLETTA GARAVELLI - BERNARDO O. GABRIELI The article analyzed the personality of painter Dux Aymo from Pavia, focusing particularly on important facts from his years in Piedmont between the 1410s and the 1440s, seen in relation with recent diagnostic studies and documentary research that allowed to clarify his relationship with patrons and to better understand his painting technique. Claudio Bertolotto presents the outcome of the recent works of restoration of the most important fresco cycle by Dux Aymo, in the Mission Chapel in Villafranca Piemonte, including the discovery of new figures of Saints and the renovated beauty of the extraordinary Lamentation of Christ and the charming cycle of the Vices and Virtues, the oldest in all Piedmont. Other significant discoveries concern the Duomo of Ivrea and the church of the Cemetery of Pancalieri, where a dramatic Mass of St. Gregory, showing the unmistakable mark of Dux Aymo, was brought to light. Nicoletta Garavelli analyzes Dux Aymo’s style, from the study of specific early-15th Century figurative models from Pavia used in the frescoes made in the Pinerolo area, to the evolution of the artist’s language as he could confront with Jaquerio when the master from Pavia worked for the court of Ludovico d’Acaia in Pinerolo. Bernardo O. Gabrieli finally analyzes the works by Dux Aymo, focusing on their peculiar technical execution: the artist masterfully and experimentally alternated a base of fresco and various secco touches, with refined metal-foil decorations, deep reliefs and intricate stencil works; this technique is compared with the known modus operandi of 15th-Century fresco painters in Piedmont and Lombardy, such as Jaquerio, the Master of the Brave Men and Heroines of the Manta and Guglielmetto Fantini, but also Michelino da Besozzo, the Maser of the Borromeo Games and Bonifacio Bembo.
€ 6,00
Ottavio Nazari, committente di Tanzio da Varallo. Nuovi documenti e ipotesi digital
formato: Articolo | ARTE LOMBARDA - 2011 - 3
Anno: 2011
Ottavio Nazari, client of Tanzio da Varallo. Unpublished documents and new theories MARINA DELL’OMO - SERGIO MONFERRINI Ottavio Nazari, whose family was in the limelight in Novara from the late 16th to the 18th Century, is known as the client for the chapel of the Guardian Angel in the basilica of San Gaudenzio. A newly found inventory of Nazari’s inheritance, drafted on November 20, 1645, casts new light on several facts of his life and his taste in the arts, and more importantly, it contains useful data on the construction of the chapel between 1627 and 1634. The document contains information on the arrangements concluded with different workshops, among which are the authors of the marble altar – the Fossati di Arzo, together with Francesco Maria Richini, who signed the project – and those of the stucco decorations – Giovanni Pietaro and Antionio Maria Casella di Carona. More records clarifying the timing of Tanzio’s contribution are included in the same document. The inventory also includes a large number of precious pieces of furniture from the family residence in Novara, among which are the paintings. Some of them, identifiable as Tanzio’s work, are now scattered around private and public collections, and give evidence of a privileged relationship between Ottavio and the painter from Valsesia.
€ 6,00
Tanzio e i volti dei committenti: a Novara e in Valsesia digital
formato: Articolo | ARTE LOMBARDA - 2011 - 3
Anno: 2011
Tanzio and the portraits of clients: Novara and Valsesia FILIPPO MARIA...
€ 6,00
Una precisazione per Palma il Giovane a Brescia digital
formato: Articolo | ARTE LOMBARDA - 2011 - 3
Anno: 2011
A clarification on Palma il Giovane in Brescia FILIPPO PIAZZA The article presents an unpublished record, dated May 12, 1623, in which the patrons of the Duomo Nuovo in Brescia approve the allotment of a sum of one hundred sequins to painter Jacopo Palma il Giovane, upon accepting his drawing for the altarpiece to be placed on the high altar of the cathedral. The painting depicting Our Lady of the Assumption with Sts Charles, Francis and Bishop Marino Giorgi, regularly delivered from the artist’s atelier, was eventually placed not on the presbytery – still unfinished at the time – but on the altar of a chapel on the left side, the first one to be consecrated in 1627. This clarification offers a satisfying explanation of the reason behind the portrait of Bishop Giorgi, the main sponsor of the chapel.
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Giovanni Stefano Montalto per gli Isimbardi: un ciclo di affreschi dimenticato a Pieve del Cairo digital
formato: Articolo | ARTE LOMBARDA - 2011 - 3
Anno: 2011
Giovanni Stefano Montalto and the Isimbardi: a forgotten fresco cycle in Pieve del Cairo ODETTE D’ALBO The article analyzes a lesser known fresco cycle located in the piano nobile hall of Palazzo Isimbardi in Pieve del Cairo. The series represents the ancestors and the deeds of the most illustrious members of this noble family from Pavia. The decoration was made before 1666, when Galeazzo Gualdo Priorato mentioned the hall in his Relatione della città e Stato di Milano, and the most likely client is Pietro Isimbardi, a prominent figure in Milan at that time. The frescoes are here attributed to the painter Giovanni Stefano Danedi from Treviso and his workshop. Through the second half of the 17th Century, the artist decorated many suburban villas belonging to the Milan aristocracy, and yet this is the only cycle of historical subject so far attributed to him. The glorification of family deeds seems to be a typical subject matter of coeval pictorial decorations in Lombardy, particularly in the hall of Palazzo Visconti in Brignano Gera d’Adda and in the ‘Fasti Borromeo’ at the Rocca of Angera.
€ 6,00
Gli affreschi dei Carlone in Sant’Antonio Abate a Milano. Ipotesi per una committenza genovese digital
formato: Articolo | ARTE LOMBARDA - 2011 - 3
Anno: 2011
The Frescoes by Giovanni and Giovanni Battista Carlone in Sant’Antonio Abate in Milan. A possible Genoese commission AGNESE MARENGO The article suggests a new interpretation of the appointment of Giovanni and Giovanni Battista Carlone for the realization of the fresco series with Stories of the Cross (1630-1632) in the Theatine church of S. Antonio Abate in Milan. Such a prestigious assignment to a couple of Genoese painters arguably originated in a milieu somehow connected to the city of Genoa. Possible evidence is given by the well documented relationship between the two painters and members of the Spinola family, who at the time held important roles in the politics of the State of Milan. Following this line of interpretation, the man portrayed in one of the frescoes decorating the nave may be identified with a member of the notorious family.
€ 6,00
La collezione Erba Odescalchi: alcune precisazioni e una proposta attributiva digital
formato: Articolo | ARTE LOMBARDA - 2011 - 3
Anno: 2011
The collection of Milanese Archbishop Benedetto Erba Odescalchi: condiserations on its client and its content, and a possible attribution EUGENIA BIANCHI The article analyzes the personality of Milanese Archbishop Benedetto Erba Odescalchi as a patron of the arts, focusing in particular on a series of portraits of canonized Archbishops of Milan – from St. Barnabas to St. Charles Borromeo – he commissioned after he was appointed to the Diocese of Milan in 1712, and subsequently donated to the Mensa Arcivescovile in 1737 (now at Milan, Museo Diocesano, fund of the Quadreria dell’Arcivescovado di Milano). A collection based on a single subject is distant from the criteria on which other similar assortments were gathered; the intention was to continue St Charles Borromeo’s work of defining a historically accountable tabula of canonized Archbishops of Milan, and establishing a convincing univocal iconography for each of them. As for the yet unsolved problem of attribution, a possible name is that of Milanese painter Francesco Fabbrica, whose attributed works show striking similarities. More specifically, the ovals with Mansuetus, Arsacius, Ausanus and Martinianus in the sacristy of Santo Stefano Maggiore in Milan (1707), and the canvases depicting The Madonna with St Bernardo Tolomei while handing the rule to St Frances of Rome and St Anne with the Child Virgin Mary and Sts Joachim and Francis of Paola, in the Milanese churches of San Vittore and Santa Maria del Paradiso respectively.
€ 6,00
Luigi Vanvitelli e un nuovo disegno per il santuario del Crocifisso di Como digital
formato: Articolo | ARTE LOMBARDA - 2011 - 3
Anno: 2011
Luigi Vanvitelli and a newly discovered drawing for the Sanctuary of the Crucifix in...
€ 6,00

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