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Bramante dopo Malaguzzi Valeri

digital Bramante dopo Malaguzzi Valeri
fascicolo ARTE LOMBARDA - 2013 - 1
titolo Bramante dopo Malaguzzi Valeri
editore Vita e Pensiero
formato Articolo | Pdf
online da 01-2013
issn 0004-3443 (stampa)
€ 6,00

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The author looks at the research carried out since Malaguzzi Valeri’s second volume on Bramante and Leonardo (1915) noting particularly that the list of buildings attributed to him has hardly changed, but that important discoveries have been made in other respects, particularly of the Bergamo frescoes, of the fact that Gaspare Visconti owned the house in which the Uomini d’Arme and Democritus and Heraclitus were painted; and of whether some or all of the paintings usually attributed to Bramante should be transferred to Bramantino. Malaguzzi Valeri’s skepticism about Bramante’s early life and his possible relationship to Fra Carnevale and the painters of the Nicchia di San Bernardino are considered. Bramante’s relationship with Francesco di Giorgio is examined with the conclusion that the planning of San Bernardino in Urbino must antedate the death of Federico da Montefeltro in 1482 and, more broadly, that a number of the architectural details of the ducal palazzo at Urbino built under Laurana and Francesco di Giorgio probably owe much to the illustrious basilica of San Salvatore at Spoleto. The attribution to Bramante of a project-drawing for Santa Maria presso San Satiro is rediscussed as well as the thorny problem of the original fenestration of the church. The discovery of a copy of a document for the Duomo in Pavia as well as a recent suggestion concerning Bramante’s original plan for the church are weighed-up. Documents recently discovered by Eduardo Rossetti form the basis for the attribution to Bramante of the project to face the ex- Arcimboldo palace on the Corso Magenta and another block on the Via Terraggio with plinths, then semicolumns superimposed over pilasters to left and right thus accounting for the many examples of the use of the same architectural device from the late 1480’s in Lombardy in many different media: the arrangement was taken by Bramante to Rome where it appeared on the second story of the lower courtyard of the Belvedere and on the exterior of St. Peter’s, and in many other places throughout the 16th century and afterwards. Santa Maria delle Grazie is considered on the basis of recent investigations by Luisa Giordano in an attempt to clarify the story of Beatrice’s d’Este’s tomb and those of others, and the arrangements of the wooden stalls in the new choir. Finally the significance of a reference in Biagio Guenzati’s life of Federico Borromeo, which evidently concerns a project to construct a third side to the Canonica of Sant’Ambrogio, is analysed.

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