Materiali per il catalogo di un patrimonio perduto: le facciate dipinte nella Milano del primo Rinascimento

digital

Articolo

rivista	ARTE LOMBARDA
fascicolo	ARTE LOMBARDA - 2019 - 2-3
titolo	Materiali per il catalogo di un patrimonio perduto: le facciate dipinte nella Milano del primo Rinascimento Materials for the Catalog of a Lost Heritage: The Façades Painted in Milan during the Early Renaissance
Autore	Edoardo Rossetti
Editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	07-2020
doi	10.26350/666112_000040
issn	0004-3443 (stampa) \| 2785-1117 (digitale)

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Descrizione
This essay provides an overview of painted façades in Renaissance Milan, a preliminary step towards the creation of their catalogue. In addition to discussing previously known documents concerning the practice of painted palaces’ fronts, important new sources and unpublished drawings by nineteenth-century architect Tito Vespasiano Paravicini documenting the existence of other buildings are introduced. The creation of painted façades, especially those dating from the construction and decoration campaign of 1493-1494 promoted by Ludovico Sforza, is furthermore contextualized in their social and cultural framework through an analysis of the identity of the painters and patrons involved, and a consideration of what imagery they adopted and why. keywords painted façades, Lombard Renaissance, Milan, Tito Vespasiano Paravicini, Bramantino, Troso da Monza, Visconti, Sforza. Biografia dell'autore Scuola Universitaria Professionale della Svizzera Italiana (SUPSI); edoardo.rossetti@supsi.ch; edoardo.rossetti@unicatt.it

Descrizione

This essay provides an overview of painted façades in Renaissance Milan, a preliminary step towards the creation of their catalogue. In addition to discussing previously known documents concerning the practice of painted palaces’ fronts, important new sources and unpublished drawings by nineteenth-century architect Tito Vespasiano Paravicini documenting the existence of other buildings are introduced. The creation of painted façades, especially those dating from the construction and decoration campaign of 1493-1494 promoted by Ludovico Sforza, is furthermore contextualized in their social and cultural framework through an analysis of the identity of the painters and patrons involved, and a consideration of what imagery they adopted and why.