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Elementi bramanteschi nell’architettura e nella cultura figurativa del Piemonte ‘lombardo’ tra la fine del Quattrocento e l’inizio del Cinquecento

digital Elementi bramanteschi nell’architettura
e nella cultura figurativa del Piemonte ‘lombardo’
tra la fine del Quattrocento e l’inizio del Cinquecento
Articolo
rivista ARTE LOMBARDA
fascicolo ARTE LOMBARDA - 2016 - 1-2
titolo Elementi bramanteschi nell’architettura e nella cultura figurativa del Piemonte ‘lombardo’ tra la fine del Quattrocento e l’inizio del Cinquecento
autore
editore Vita e Pensiero
formato Articolo | Pdf
online da 11-2016
issn 0004-3443 (stampa)
€ 6,00

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Among the 15th and the 16th century the Piedmont of today didn’t constitute a homogeneous territory both the political viewpoint and the cultural viewpoint: the advent of the modern architectural culture was born in different times into distinct areas and today architectures aren’t understanded. Historians generally have attributed many buildings to Bramante or generically to Bramante’s culture, but they have been rarely compared with the Bramante’s works. The buildings attributed to Bramante or to Bramante’s school are the parish churches of Santa Maria Annunziata in Roccaverano and of San Lorenzo in Saliceto, the courtyard of the Vinovo castle, the Malabayla palace in Asti and the church of S. Sebastiano in Biella, which constitutes the case here considered. This essay aims at reconsidering the hypothesis according to the building, founded in 1502, constitutes an example of penetration of Bramante’s architectural culture in Piedmont descended from the church of Santa Maria presso San Satiro in Milan, in fact Sebastiano Ferrero, patron of San Sebastiano, lived in Milan since 1499. Given the limited availability of documents and information on architects and workers, instead the architectural analysis has highlighted a revival of traditional solutions of lombard architecture at the end of the fifteenth century, while the presence of the barrel vault on columns is present only in the church of Santa Maria in Valvendra in Lovere, and the Brunelleschi’s die, used by Bramante in the cloisters of St. Ambrose, is a rare solutions in Milan at the beginning of the 16th century. Different elements, taken from the church of Santa Maria presso San Satiro, live side by side in the church of San Sebastiano, but we can’t define it a Bramante’s space, because San Sebastiano in Biella shows a Bramante’s heritage composed of single citations like the rich decoration influenced by ancient models and the barrel vault. Furthremore the wasted decorations contrast with new trends of architectural style in Milan during French period.

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