ARTE LOMBARDA - 2011 - 1-2 - autori-vari - Vita e Pensiero - Fascicolo digitale Arte Lombarda Vita e Pensiero

ARTE LOMBARDA - 2011 - 1-2

digital ARTE LOMBARDA - 2011 - 1-2
Fascicolo digitale
Fascicolo 1-2 - 2011
Titolo ARTE LOMBARDA - 2011 - 1-2
Editore Vita e Pensiero
Formato Fascicolo digitale | Pdf

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Architettura e spazio liturgico degli umiliati: a proposito di tre manoscritti dell'Ambrosiana
di Anna Salvioli Mariani pagine: 9 € 6,00
The article focuses on miniatures from three manuscripts preserved at Biblioteca Ambrosiana – G 310 inf., G 302 inf. and Trotti 41 – with the Chronicle of the Humiliati by Giovanni da Brera (originally from 1419) in a shortened 1421 version. These pictures offer an opportunity to delve into the relationship between architecture and liturgical space in the churches of the Humiliati, a field of research which has not been thoroughly considered.
The miniatures illustrate the text, witnessing the architecture of these churches and its connection with the order’s liturgy. For instance, the miniature illustrating the description of the daily divine office shows a partition wall between the liturgical space occupied by the friars and that occupied by the nuns. If related to some readings from historical documents on the ecclesiastical practice of the Humiliati, the iconography of these illustrations allows us to assume the presence in the order’s churches of divisions between contiguous liturgical spaces, connected to the same separation between friars and nuns on which the monastery life was based.
Il 'rustico' in Giulio Romano: alcuni casi emblematici
di Bruno Adorni pagine: 18 € 6,00
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.
Un disegno per il portale di palazzo Vidoni a Cremona
di Antonio Russo pagine: 8 € 6,00
The article connects a drawing from Biblioteca Ambrosiana in Milan (F 251 inf. D 310) to the portal of Palazzo Vidoni in Cremona, thus making it the only sheet linked to the palace, which was built in the 1560s. The analysis of similarities and differences between the drawing and the actual portal – together with an inquiry about the new information deducible from the sheet and its possible formal references – clearly identifies the former as a project for the latter.
After taking stock of the scholars’ different opinions on the authorship of Palazzo Vidoni, the article suggests the possibility – supported by the drawing – of a possible collaboration between the brothers Giulio and Antonio Campi: as a matter of fact, they were the only architects of the time in Cremona who had the up-to-date, innovative culture inferable from the formal and stylistic components of the building. More specifically, thanks to a number of graphic and formal elements, Giulio is proposed as the possible author of the drawing.
Un dipinto di Antonio Campi alla Pinacoteca Vaticana
di Mauro Pavesi pagine: 9 € 6,00
A rather neglected small panel with the Stigmata of St. Francis, previously attributed to Girolamo Muziano and his circle (or dubiously associated with Marcello Venusti), actually shows decisive formal similarities to Antonio Campi’s production. The piece is currently displayed in room XI in the Pinacoteca Vaticana (inv. 40370). Its intense pathetism and striking realism, very far from Muziano’s elegant mannerism, were probably the causes of its little appreciation among critics; if properly considered, these characters, together with the peculiar pre-Caravaggian side lighting, support the attribution to the painter from Cremona. Several stylistic elements allow us to situate it in the time-span between the Beheading of St. John the Baptist for San Paolo Converso in Milan (1571) and the Prayer in the Garden for Santa Maria della Noce in Inverigo (1577). Those were years of hectic activity for the artist, who was well integrated in the local milieu of religious and secular patrons, and engaged in a fruitful confrontation with the Leonardesque tradition, as demonstrated by the formal reference to Cesare da Sesto’s Salome in the altarpiece with the Beheading of St. John the Baptist in San Sigismondo in Cremona.
Gli Scotti di Laino: precisazioni e nuove acquisizioni
di Marco Leoni pagine: 39 € 6,00
The article offers a coherent picture of the activity of the artists belonging to the Scotti family from Laino: a thoroughly reconstructed bibliography and further archive inquiries allow to establish a corpus of artworks made in Italy, Germany, Czech Republic and Russia, and also to sketch out the biographies of these artists and their professional connections, especially within the area of Val d’Intelvi. Twelve artists – a stucco decorator, an architect and ten painters – go across five generations from the 17th to the 19th century. This research clarifies the role of the different family members – making up for several wrong assumptions by the local historiography – and solves specific problems of attribution, as well as giving important insight of the artists’ activity and some previously unknown works. Among the most significant contributions: the reconstruction of a nucleus of works by Giacomo Scotti, the discovery of new clues on the activity of Giovanni Pietro Scotti in Prague, Brescia and Turin, and of Giosuè Scotti in Bergamo, Milan and Bellagio, the finding of a previously unknown painting by Bartolomeo Scotti in Manerba del Garda, the redefinition of the corpus of works by Carlo Scotti with the addition of newly-discovered early paintings in Bovegno and Villa Carcina.
Precisazioni su Salvator Rosa a Milano (e una data per Francesco Cairo)
di Floriana Conte pagine: 20 € 6,00
The article traces the origins of Salvator Rosa’s Milanese commissions through an ordinal alaysis of visual and archive documents, including published sources of the time, so far never connected to a study of this kind. Such discoveries allow to narrow down the context of the commission to Rosa and Francesco Cairo for the church of San Giovanni Decollato, known as «alle Case Rotte» («by the Dismantled Houses»), but also to establish June 21, 1658 as the exact date when the altarpiece with St. Aloysius Gonzaga Receiving Communion From St. Charles Borromeo – painted by Cairo for the Jesuits of Santa Maria in Brera – was publicly displayed.
«Per restare Civitatis ornamentum». Il progetto storico di Ernesto Nathan Rogers nel Museo d’Arte antica del Castello Sforzesco di Milano (1947-1956)
di Orietta Lanzarini pagine: 8 € 6,00
The exhibition plan for the Ancient Art Museum at Castello Sforzesco, developed by BBPR between 1947 and 1956, is part of a general process of re-organization and renewal of museums carried out in Italy after World War II, in order to educate a larger and more varied public in the values of art and history. Ernesto Nathan Rogers, who had been reflecting theoretically on those values since the Thirties, finally had a chance to pass them on to visitors through specifically dedicated planning solutions elaborated with BBPR. The task presented a number of stiff challenges: how could the architectural firm combine the modernity of their shapes, materials and technical solutions with those of Castello Sforzesco, inherited from Beltrami, and correspondingly present the public with history’s continuous journey from past to present? How could they establish a continuity among collections made up of fragments, putting them into a lively, comprehensible narrative? And finally – a problem concerning Rogers more than anyone else – how could they capitalize on this occasion to test the effectiveness of many theoretical assumptions, and perhaps to formulate new ones ‘on the field’? A comparative study of Rogers’ writings and the most significant solutions for the museum allows to analyze the strategies adopted by BBPR to meet those challenges, while at the same time casting some light on the importance of Castello Sforzesco in the context of Italian museography.
Giacomo Manzù nelle carte dell'archivio Gritti
di Ilaria De Palma pagine: 10 € 6,00
Through the scrutiny of the archive documents from the workshop of the Grittis – a family of wood carvers and restorers from Bergamo – the article gives new information on the wood sculpture and furniture production of Giacomo Manzù. A schoolmate of Angelo Gritti and a close friend of his son Eugenio, Manzù projected the furniture for the houses of the Lampugnani family and the liturgical ornaments for the Cappella della Pace – commissioned by Mgr. De Luca for his own residence – with the help of the workshop, which had a long tradition in cabinetmaking. Even though the artist had some experience in the technique of wood sculpting, he actually created his works in ebony and Swiss pine through the craftsmanship of Angelo and Eugenio Gritti. Cardinal, Lying Woman, Guantanamera, Maternity, Woman Looking were all produced between the sculptor’s atelier in Ardea and the Gritti workshop in Bergamo. The creative process began with a plaster model made by Manzù, then developed through the study of volumes and the assembling of the wood pieces for the sculptural block, made by the Grittis; finally, the sculpture was completed by the Grittis under the demanding supervision of Manzù, who would later appropriately acknowledge the key role the workshop had in the creation of his masterpieces.
Danese 1957-1991. Un paradigma del design senza tempo
di Paola Proverbio pagine: 9 € 6,00
Among the historic Italian design factories, Danese stood out for being, more than others, an experimental laboratory for design projecting. Bruno Danese and his wife Jacqueline Vodoz gave life not just to a business, but more importantly to an "editor" which interpreted the production of objects as a cultural operation. Even if such a story would be impossible today, Danese provided us with an original operational model, several aspects of which make it as lively as it has ever been: for instance, the determination in pursuing an integration of art and design, and the opening of new possibilities of development for contemporary crafts. These choices anticipated tendencies such as the "New Handicraft" as it has emerged since the Eighties, or the very recent phenomenon of the Small Editions and other industrial design companies that frequently use craftsman-like system of production, or even the modern object galleries interested in limited edition series and unique articles of design.

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