Presenze foreste nella chiesa parrocchiale di Pognana Lario: un’aggiunta al catalogo di Giovanni Battista Innocenzo Colomba

Name: Presenze foreste nella chiesa parrocchiale di Pognana Lario: un’aggiunta al catalogo di Giovanni Battista Innocenzo Colomba
Brand: Vita e Pensiero
Price: 6.00 EUR
Availability: OnlineOnly

digital

Articolo

Rivista

ARTE LOMBARDA

Fascicolo

ARTE LOMBARDA - 2018 - 1-2

Titolo

Presenze foreste nella chiesa parrocchiale di Pognana Lario: un’aggiunta al catalogo di Giovanni Battista Innocenzo Colomba

Foreign presences in the parish church of Pognana Lario: an addition to the catalog of Giovanni Battista Innocenzo Colomba

Autore

Giovanna Virgilio

Editore

Vita e Pensiero

Formato

Articolo |

Pdf

Pagine

Online da

11-2018

Doi

10.26350/666112_000020

Issn

0004-3443 (stampa) | 2785-1117 (digitale)

€ 6,00

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Descrizione

In the churches of Pognana – a picturesque village overlooking the Lario – there are valuable paintings and precious goldsmiths coming from central Europe. These are works commissioned to important representatives of Baroque painting, such as Januarius Zick, author of the canvas of Saint Joseph and Child (1766) located in the parish church of the Holy Trinity, and to illustrious exponents of the international Rococo, like Carlo Innocenzo Carloni who made, around 1745, the altarpiece with the Madonna and Child with saints Miro and Fedele of the church of San Miro. These presences are justified by the migratory phenomenon that, in past centuries, saw the inhabitants of Lario go abroad searching for luck. A privileged destination for some pognanesi was the Bavarian town of Günzburg, where the Rebay family started a thriving commercial activity. A substantial part of their earnings has been invested in the construction and embellishment of the mentioned church of the Holy Trinity. Probably, belongs to them the idea to hire Giovanni Battista Innocenzo Colomba (Arogno, 1717-1801) for the execution of the altarpiece depicting the Holy Trinity presented in this article for the first time. The artist made the work in the final phase of his career, between 1784 and 1796, when his language evolved decisively toward the Neoclassicism.