Angelo Venturoli
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LA PITTVRA LOMBARDA Nel SECOLO XIX
LA PITTVRA LOMBARDA nel SECOLO XIX LA PITTVRA LOMBARDA nel SECOLO XIX MILANO MDCCCC CONSIGLIO DIRETTIVO DELLA SOCIETÀ PER L’ANNO 1900 Nob. cav. Carlo Bassi, Presidente Comm. Gaetano Negri, senatore del regno, Vice-Presidente Antonio Grandi, ragioniere, Segretario del Consiglio P ietro Bouvier, pittore, Consigliere Nob. cav. L uigi E sengrini » Cav. F erdinando Meazza » Cav. Giorgio Mylius » Cav. Luigi S ecchi, scultore » Cav. G. Batt. Vittadini » E rnesto Bigatti, ragioniere, Revisore Gerolamo S izzo, ingegnere, Segretario della Società COMITATO PER L’ESPOSIZIONE DELLA PITTURA LOMBARDA DEL SECOLO XIX Cav. Aureliano Albasini S crosati, avvocato Giovanni Beltrami, pittore Prof. Vespasiano Bignami, pittore Comm. Camillo Boito, presidente della R. Accademia di Belle Ar Amero Cagnoni, pittore Conte Costanzo Castelbarco Cav. Luigi Cavenaghi, pittore Dott. Giuseppe Carozzi, pittore Conte Cesare Del Majno Andrea F errari, ingegnere Sallustio F ornara, pittore Cav. Bartolomeo Giuliano, pittore March. Achille Majnoni d’Intignano, architetto Comm. E leuterio Pagliano, pittore Cav. ing. Giulio P isa Cav. A merigo Ponti Comm. Corrado R icci, direttore 'della R. Pinacoteca Conte Giuseppe Visconti di Modrone COMMISSIONE PE R LA DESIGNAZIONE E COLLOCAMENTO DELLE OPERE Cav. Aureliano A lbasini Scrosati, avv., Presidente Giovanni Beltrami, pittore Prof. Vespasiano Bignami, pittore Amero Cagnoni, pittore Dott. Giuseppe Carozzi, pittore Andrea F errari, ingegnere Sallustio F ornara, pittore COMMISSIONE PER IL CATALOGO Prof. Vespasiano Bignami, pittore Andrea F errari, ingegnere Sallustio F ornara, pittore ESTRATTO DELLO STATUTO SOCIALE La società è costituita da soci effettivi, da soci perpetui e da soci onorari. Sono soci effettivi quelli che pagano L. 20 all’anno : l’associa zione è obbligatoria per tre anni. -
The Power of Drawings
The Power of Drawings Cortona Fine Art © Copyright 2020 Cortona Fine Art Corso Monforte, 38 - 20122 Milano Tel. +39 02784617 [email protected] www.galleriacortona.com © Copyright 2020 Edifir-Edizioni Firenze via de’ Pucci, 4 – 50122 Firenze www.edifir.it Responsabile del progetto editoriale / Managing editor Simone Gismondi Responsabile editoriale / Design and production editor Elena Mariotti Stampa / Printing Pacini Editore Industrie Grafiche, Ospedaletto (Pisa) Referenze fotografiche / Photographs Andrea Parisi Traduzioni / Translation Theresa Davis Le schede sono di Luca Fiorentino, ad eccezione della n. 13, che è di Donatella Biagi Maino / Entries written by Luca Fiorentino, with the exception of no. 13, by Donatella Biagi Maino. Ringraziamenti / Thanks Cortona Fine Art e Luca Fiorentino ringraziano sentitamente per i loro consigli e suggerimenti / Cortona Fine Art and Luca Fiorentino warmly thank for their advice and suggestions: Federico Berti, Donatella Biagi Maino, Jonathan Bober, Marco Ciampolini, Theresa Davis, Marzia Faietti, Carlo Falciani, Gabriele Fattorini, Valentina Frascarolo, Luca Gracis, Carlo Montanaro, Sebastian Neerman, Mary Newcome Schleier, Carlo Orsi, Jacopo Ranzani, Cristiana Romalli, Giovanni Serafini, Chiara Sestini, Chiara Travisonni. ISBN: 978-88-9280-017-5 In copertina / On the cover Giovan Battista Tiepolo, Studio per una testa di ragazzo / Study for a boy’s head, 1750 ca., 245x185 mm (n. 15) In IV di copertina / On IV of cover Giovan Battista Tiepolo, Studio per uno scudo ed una testa di mucca / Studies for a shield and a cow head (recto), particolare / detail, 222x238 mm (n. 14) Fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall’art. -
Piazza San Carlo
BOTTEGHE STORICHE CHIESE E CAPPELLE PALAZZI ED EDIFICI STORICI ToTo TORINO TOUR FOR ALL ARCHITECTURE PLACES SITI ARCHEOLOGICI MONUMENTI IL QUADRILATEROARCHITETTURA URBANA POINT OF INTEREST 1 PIAZZA CASTELLO Torino Tour for All begins in the very heart of the city, piazza Castello, which spans about 40 thousand square meters. It is bordered to the northeast by piazzetta Reale and it merges four of the main downtown roads: via Garibaldi (a pedestrian street), via Po, via Roma and via Pietro Micca. During the Savoy reign, and then in the post-Unification period, Piazza Castello was the center of the Piedmontese State. It is surrounded on three sides by monumental porches, built in different times. In the mid XIX century, the west arcades were nicknamed Arcades of the Fair, because of the market housed during Carnival. On Piazza Castello there are several historical buildings, starting from via Garibaldi and proceed- ing clockwise: Palace of the Regional Council, Church of San Lorenzo, Royal Palace, Royal Library and Armory, State Archives, Government Palace (now the Prefecture Palace), Royal The- atre and the Galleria dell’Industria Subalpina (Subalpine Gallery of Industry). At the center of the square there is Palazzo Madama. Ascanio Vitozzi, architect of the Duke of Savoy Carlo Emanuele I, designed piazza Castello start- ing from 1587. The square was born to frame in a neat space the existing Senate and to accom- modate the Novo Palazzo Grande, today’s Royal Palace. Despite the architectural interventions of 1612 and 1773, piazza Castello maintains its configuration in three areas: the oldest, whose structure dates back to Roman times, on the side of Via Garibaldi, the area connecting Piazza Castello to the river through Via Po and the area of the Piazzetta Reale which was once divided from the square by a brick wall. -
The Courtyard of Honour the Courtyard
The Courtyard of Honour The Courtyard of Honour of the Quirinale Palace appears to be a large arcaded piazza, unified and harmonious in shape, but it is in fact the result of four separate phases of construction which were carried out between the end of the 1500s and next century. The oldest and most easily distinguishable section forms the backdrop to the courtyard with the tower rising above it. This part of the palace was originally an isolated villa, whose construction was begun in 1583 by Pope Gregory XIII who wished to pass the hot Roman summers on the Quirinal Hill, a fresher and airier location than the Vatican. The architect who designed this first building was Ottaviano Mascarino, from Bologna. The next pope, Sixtus V, decided to enlarge the structure with a long wing running down the piazza and a second building directly in front of the older villa; Domenico Fontana was in charge of these projects. The palace and the Courtyard were completed under Pope Paul V by the architect Flaminio Ponzio, who designed the wing on the side of the gardens, and Carlo Maderno, who rebuilt the Sixtus V structure in order that it could accommodate larger and more solemn ceremonial spaces. The clock-tower was originally a simple viewing tower crowning the 16th Century villa. At the beginning of the 17th Century it was fitted with a clock and bell, and towards the end of that century a mosaic of the Madonna and Child was carried out, based on a design by Carlo Maratta. Above the tower fly the Italian and European flags as well as the presidential standard, which is lowered when the Head of State is not in Rome. -
Quadreria (1750-1850)
A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE QUADRERIA (1750-1850) SPERONE WESTWATER 2 A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE Q UADRERIA (1750-1850) SPERONE WESTWATER 2 A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE QUADRERIA (1750-1850) 10 January - 23 February 2013 curated by Stefano Grandesso, Gian Enzo Sperone and Carlo Virgilio Essay by Joseph J. Rishel catalogue edited by Stefano Grandesso SPERONE WESTWATER in collaboration with GALLERIA CARLO VIRGILIO & CO. - ROME (cat. no. 15) This catalogue is published on the occasion of the exhibition A Picture Gallery in the Italian Tradition of the Quadreria* (1750-1850), presented at Sperone Westwater, New York, 10 January through 23 February, 2013. 257 Bowery, New York, NY 10002 *A quadreria is a specifically Italian denomination for a collection of pictures (quadri) up to and beyond the eighteenth century, with the pictures normally covering the entire wall space from floor to ceiling. Before the advent of the illuminist concept of the picture gallery (pinacoteca), which followed a classification based on genre and chronology suitable for museums or didactic purposes, the quadreria developed mainly according to personal taste, affinity and reference to the figurative tradition. Acknowledgements Leticia Azcue Brea, Liliana Barroero, Walter Biggs, Emilia Calbi, Giovanna Capitelli, Andrew Ciechanowiecki, Stefano Cracolici, Guecello di Porcia, Marta Galli, Eileen Jeng, Alexander Johnson, David Leiber, Nera Lerner, Todd Longstaffe-Gowan, Marena Marquet, Joe McDonnell, Roberta Olson, Ann Percy, Tania Pistone, Bianca Riccio, Mario Sartor, Angela Westwater Foreword Special thanks to Maryse Brand for editing the texts by Joseph J. Rishel English translation Luciano Chianese Photographic Credits Arte Fotografica, Roma Studio Primo Piano di Giulio Archinà Marino Ierman, Trieste The editor will be pleased to honor any outstanding royalties concerning the use of photographic images that it has so far not been possible to ascertain. -
Pelagio Palagi's Floating Castles: 'Risorgimental Neo-Medievalism
$UFKLWHFWXUDO Zerbi, T. 2021. Pelagio Palagi’s Floating Castles: ‘Risorgimental Neo-Medievalism’, Architectural Ephemera, and Politics at the Court of Savoy. Architectural +LVWRULHV Histories, 9(1): 1, pp. 1–17. DOI: https://doi.org/10.5334/ah.462 RESEARCH ARTICLE Pelagio Palagi’s Floating Castles: ‘Risorgimental Neo-Medievalism’, Architectural Ephemera, and Politics at the Court of Savoy Tommaso Zerbi In 1842, the court artist Pelagio Palagi (1775–1860) devised four temporary floating castles on the river Po for the remarkable urban celebrations for the nuptials of His Royal Highness Victor Emmanuel of Savoy- Carignan (1820–1878) to Her Imperial and Royal Highness Maria Adelaide of Habsburg (1822–1855) in Turin. The structures formed the central pieces of a broad medievalist programme that, during the reign of Charles Albert of Savoy-Carignan (1831–1849), brought the Middle Ages back to life in the Kingdom of Piedmont-Sardinia. Challenging the classicised image of the Sabaudian monarchy, this article insists that neo-medieval architecture and the architectural style that I call ‘Risorgimental neo-medievalism’ mirrored a calibrated medievalist and royalist strategy against the background of Italy’s ‘resurgence’. Counter- ing recurrent biases that read Italian revivalist architecture as an exercise in taste, it discusses Palagi’s designs as the tools of a political reworking of the Middle Ages, in open dialogue with the disciplines of architectural history and medievalism studies. By reading the urban festivities staged in the capital as a strategically orchestrated political act, this article assesses the medievalist initiatives, culminating in the spectacle on the river Po, as propagandistic vehicles to convey meaning to a vast public, which underscore the role of medievalist rhetoric in challenging the dominant classicist iconography and forging the ‘iden- tity’ of the modern Sabaudian nation. -
Nei Disegni Di Pelagio Palagi. Letteratura Illustrata Dal Fondo Palagi Dell’Archiginnasio
MATTEO SOLFERINI Storia e ‘storie’ nei disegni di Pelagio Palagi. Letteratura illustrata dal fondo Palagi dell’Archiginnasio Lo studio che qui si espone ha l’intento di raccogliere e rendere noti alcuni tra i più significativi risultati cui si è pervenuti al termine di un lavoro di ag- giornamento condotto sulla raccolta Disegni Palagi della Biblioteca comunale dell’Archiginnasio di Bologna. Il corpus grafico, che è stato oggetto di revisione inventariale, è la collezione dell’artista bolognese Pelagio Palagi (1775-1860), acquisita dalla città nel 1860, ed è costituito, nella quasi totalità, di fogli autografi realizzati nell’arco di un’in- tera operosa esistenza, inframezzati agli elaborati di artisti con cui il Nostro fu in contatto e in rapporto di reciproca influenza (John Flaxman, Felice Giani, Giuseppe Bossi, Luigi Sabatelli, Giuseppe Guizzardi). Tale operazione, svolta inizialmente nell’ambito del tirocinio curriculare pre- visto dal piano di studi della Scuola di specializzazione in Beni storico-artistici dell’Università di Firenze, si poneva come obiettivo la messa a punto di un da- tabase da pubblicare online, al fine di rendere più agile la consultazione del ma- teriale grafico palagiano (fino a quel momento ‘disciplinato’ da un inventario re- datto negli anni Trenta del Novecento), e ha portato ad un sostanziale riassetto della struttura proposta dal precedente elenco manoscritto (con l’individuazione di 3.982 elaborati, contro i 3.000 già censiti) e ad una serie di approfondimenti di carattere storico-artistico svolti su una produzione quanto mai variegata per tecniche, stili, finalità e modalità espressive. Proprio questa varietà - che va dalle accademie di nudo tardo settecentesche al design eclettico per gli arredi delle corti sabaude - ha imposto di circoscrivere il discorso: si è prediletta, in questa sede, un’indagine sul disegno ‘di storia’ e sulla capacità evocativa di Palagi nell’illustrare eventi del passato, attingendo, in massima parte, a testi letterari. -
La Nerina Di Cincinnato Baruzzi Dal Verso Alla Forma
La Nerina di Cincinnato Baruzzi Dal verso alla forma Antonella Mampieri* abstract This short essai is about the creation of «Nerina», one of the most celebrated statues by the neoclassic sculptor Cincinnato Baruzzi, a pupil of Antonio Canova. The maquette of this sculpture is depicted by the famous Russian portraitist Karl Brjullov in the background of his «Portrait of Cincinnato Baruzzi», as a sort of memory of one of his latest and more promising artworks. The statue, made for count Carlo Bertalazzone D’Arache of Turin, is at present dispersed and only documented by descriptions and drawings. As many of Baruzzi’s works, it was inspired by a poem, this time by his contemporary Francesco Gianni. Il bel ritratto di Cincinnato Baruzzi, recentemen- te esposto alla mostra Maestà di Roma (fig. 1), fu dipinto da Karl Pavlovič Brjullov quando si trovava a Bologna, ospite dell’amico scultore (Imbellone 2003, ii. 14, p. 113).1 Quello che più colpisce nel dipinto è l’aspetto vivace conferito dal pittore russo al suo soggetto. * Desidero ringraziare per la disponibilità e le preziose se- gnalazioni Sergej Androsov, Serena Bertolucci e Giovanni Meda. 1. L’autrice indica una datazione 1834-1835, aderendo alla proposta di Renzo Grandi nel catalogo del museo (Ber- nardini 1989, p. 50), tuttavia avanza anche l’ipotesi di posticiparla al 1837. La datazione tradizionale è infatti adeguata alla permanenza a Bologna del pittore russo, ma in contrasto con la realizzazione della statua alle spalle dello scultore che, alla luce delle ricerche in corso, va col- locata dopo il 1839. Le monografie su Karl Brjullov che ho avuto la possibilità di consultare non permettono tuttavia di collocare con certezza un secondo soggiorno del pittore a Bologna in questo periodo. -
A Province to Be Explored a Province
Monza Coperta Ita.qxp:Layout 1 20-05-2009 17:07 Pagina 1 MONZA AND ITS PROVINCE MONZA AND ITS PROVINCE MONZA AND ITS PROVINCE A PROVINCE TO BE EXPLORED A PROVINCE Four itineraries explore architecture, nature, stately homes and gardens scattered across TO BE EXPLORED the 55 towns and cities in the new Province of Monza & Brianza. A journey through The art, nature and culture the history and traditions that have marked the roots and identity of an area at the centre of one of of Brianza Europe’s most highly industrialised zones. Monza Coperta Ita.qxp:Layout 1 20-05-2009 17:07 Pagina 2 Monza 001-035:Layout 1 20-05-2009 17:34 Pagina 1 MONZA AND ITS PROVINCE A PROVINCE TO BE EXPLORED The art, nature and culture of Brianza Andrea Spiriti – Laura Facchin Monza 001-035:Layout 1 25/05/09 14:26 Pagina 2 F DIREZIONE CENTRALE HEAD OFFICE TURISMO E AGRICOLTURA MONZA AND BRIANZA PROJECT Viale Piceno 60 Piazza Diaz 1 20052 Monza P 20129 Milano ot www.visitamilano.it www.provincia.milano.it/monzabrianza [email protected] Ita General Director - Monza and Brianza Pr oject in General Director Giuseppe Valtorta pr Tourism and Agriculture Pia Benci Project director – society and culture a Monza and Brianza pe Tourism Erminia Zoppè Monica Giudici pl Roberto Barelli Cultural and visitor events promotion tin Colette Perna for Monza and Brianza vi Anna Zetti Gianpiero Bocca Elena Gomiero is Carmen La Malfa ve Press Office Giulia Prada Giuseppe Baselice Alex Tonello za Communication and Press Office tio Marta Caratti co za Texts Andrea Spiriti ve Laura -
MONDOVÌ and Its VALLEYS PESIO and COLLA VALLEYS VERMENAGNA VALLEY Ormea - Ph
TANARO VALLEY MONDOVÌ and its VALLEYS PESIO and COLLA VALLEYS VERMENAGNA VALLEY Ormea - ph. G. Mignone Piazza Maggiore - Mondovì - ph. G. Gamberini Pesio Charterhouse - ph. R. Croci Mondovì and its valleys offer opportunities for all tastes: stretched Surely the best known in terms of tourism, the Vermenagna Valley, between the Alps and the Langhe, the area is scattered with medieval Just a few miles from Cuneo, an easy ride by e-bike, the Pesio and th especially in the upper part, offers beautifully mantained countryside churches and chapels, rich in precious 15 century frescoes, though Colla valleys offer green meadows and shaded woodland, but also sites and green forests providing a warm and welcoming atmosphere in all even the smallest village reveals important baroque parish churches, steeped in history and in the middle of the countryside. This area was Its geographical position - between Langhe, Liguria and Mondovì - gives seasons. This area was frequented as far back as Roman times thanks many of which designed by the local architect, Francesco Gallo. inhabited as early as the protohistoric age and was organised in medieval the Tanaro Valley a great variety of landscapes and cultural influences. to the Monte Cornio pass (or Colle di Tenda), an easy route for merchants times into small fortified towns with walls and castles: some ruins still th Historical events have left evidence of the passage of wayfarers and and travellers. Until the beginning of the 16 century, this area was overlook the settlements from the top of rocky spurs. The devotion of the merchants, such as the Roman bridge of Bagnasco. -
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Jean-Luc Baroni Lucian Freud: A Walk to the Office (no. 55 ), actual size JEAN-LUC BARONI PAINTINGS SCULPTURES DRAWINGS 2014 ACKNOWLEDGEMENTS I am very grateful to Alexandra Chaldecott and Joanna Watson for their dedication in researching and writing this catalogue. Christopher Apostle, Francesca Baldassari, Jean-Marc Baroni, my son Pietro Baroni, Antonio Berni, Giuseppe Bertini, Anna Bozena Kowalczyk, Christina Buley-Uribe, Suzanna Caviglia, Hugo Chapman, Martin Clayton, Pierre Etienne, Chris Fischer, Saverio Fontini, Daniel Greiner, Neil Jeffares, Paul Joannides, Mattia Jona, Annemarie Jordan Gschwend, Neil Jeffares, William Jordan, Francesco Leone, Laurie and Emmanuel Marty de Cambiaire, Laetitia Masson, Alessandro Morandotti, Ekaterina Orekhova, Anna Ottani Cavina, Francesco Petrucci, Anna Reynolds, Aileen Ribeiro, Jane Roberts, Clare Robertson, Cristiana Romalli, Annalisa Scarpa, Paul Taylor and the Warburg Institute, Cinzia Virno, Emanuele Volpi, Joanna Woodall, Selina Woodruff-Van der Geest, Tiziana Zennaro. Last but not least, I am also very grateful to my wife Cristina for her unrelenting patience and for her continued help and support. Jean-Luc Baroni All enquiries should be addressed to Jean-Luc Baroni at Jean-Luc Baroni Ltd., 7/8 Mason’s Yard, Duke Street, St. James’s, London, SW1Y 6BU. Tel: +44 (20) 7930-5347 e-mail: [email protected] © Copyright Jean-Luc Baroni Ltd., 2014 Designed by Saverio Fontini - Printed in Italy by Viol’Art – Florence – email: [email protected] renze.it 4 ACKNOWLEDGEMENTS I am very grateful to Alexandra