Il 'rustico' in Giulio Romano: alcuni casi emblematici

digital

Articolo

Rivista	ARTE LOMBARDA
Fascicolo	ARTE LOMBARDA - 2011 - 1-2
Titolo	Il 'rustico' in Giulio Romano: alcuni casi emblematici
Autore	Bruno Adorni
Editore	Vita e Pensiero
Formato	Articolo \| Pdf
Online da	01-2011
Issn	0004-3443 (stampa) \| 2785-1117 (digitale)

€ 6,00

Ebook in formato Pdf leggibile su questi device:

Computer
con Software:
- Adobe PDF Reader
Android
iPhone/Ipad
con App:
- Adobe PDF Reader
E-Book Reader
Ibs Tolino
Kobo

Descrizione
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.

Descrizione

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.