ESSENTIAL MILAN Don’T Forget to Mark the Duomo, Brera and Navigli on Your ‘Must See’ List by Maryalicia Post

Total Page:16

File Type:pdf, Size:1020Kb

ESSENTIAL MILAN Don’T Forget to Mark the Duomo, Brera and Navigli on Your ‘Must See’ List by Maryalicia Post Feature 49 EYE ON TraVEL ESSENTIAL MILAN Don’t forget to mark the Duomo, Brera and Navigli on your ‘must see’ list by Maryalicia Post Piazza Del Duomo Milan’s freshly scrubbed cathedral, the Duomo, is one sight no visitor is going to miss. Standing at the very centre of the city in its own piazza, it is Milan’s heart and soul. The cathedral’s facade, in the words of Mark Twain, seems a “delusion of frostwork,” while the interior is a stone forest of columns pierced with rosy light from the stained glass windows. It is the world’s largest Gothic cathedral, big enough to hold 40,000 people; not surprisingly, it took nearly 500 years to complete. Go up on the roof, too, for a close-up look at the thousands of spires and statues that surmount the cathedral. And don’t forget your camera! To access the roof, leave the cathedral by the main door and turn left. The inconspicuous doorway leading A courtyard in the Navigli district both to the stairs (201 steps) and the lift is around the corner tucked into a flank of the A cobbled street in the Brera district building. particularly from the Giacamo Arengario Buy your ticket – €6 for the stairs or restaurant. Open for lunch and dinner, €10 for the lift – across the street from reservations essential. Via G. Marconi, 1 opened to the public in 1998. Open from the entrance at Info Point, Via dell corner of Piazza del Duomo. Telephone: 02 9:00 to 12:00 and from 13:00 to 16:00. A 'Arcivescovado, 1. Roof visits open from 72093814. wide variety of restaurants and bistros 09:00 daily. Closing times vary, but from The Royal Palace, once the home of the enliven Brera’s winding streets and Happy late March to late October, the last ticket is Visconti and Sforza families, and later of Hour is celebrated here with gusto. Every sold at 21:15. the Spanish and Austrian governors, is month, on the 3rd Saturday, there’s the Round off your exploration with an set back in its own courtyard to the right traditional Antique Market. Fabriano, excursion under the Duomo, to the 4th of the Cathedral. Damaged by fire after Via Ponte Vetero 17. Closest Metro stop, Century Baptistery. It was first discovered bombing in WWII, the Royal Palace was Lanza; Cavalli e Nastri, Via Brera 2, Metro in 1940 when a bomb shelter was being dug a neglected treasure until the year 2000, Montenapoleone. Both stops serve the under the cathedral. Subsequent excavations when a definitive restoration was begun. Pinacoteca di Brera, Via Brera 28. Open for the Metro uncovered more of the site, Enough has already been accomplished to Tuesday-Sunday 8:30-19:15. The Brera is a including the remains of the Basilica of give visitors an idea of the glory of court 10-minute walk from the Duomo. Santa Tecla and 1st century Roman baths. life when the city played a major role in Tickets are available from the booth inside the affairs of Europe. The palace hosts Navigli/Ticinese Though its vibrant the cathedral, at the back. Metro: Duomo. temporary shows and exhibitions. Happy Hour is the main draw of Milan’s Navigli area, its unsophisticated, almost The Arengario, the pseudo-classical A Brera facade building on the right of the Piazza del Brera Few artists could afford to live in rural character is worth sampling even Duomo was the municipal headquarters the Brera district now, though it’s still called without the “eat all you want for the price Milan’s “bohemian” quarter. Today, it is of one drink” evening scene. There are Milan’s Metro is clean and easy to use but from which Italy’s Fascist dictator, Benito crowded at peak hours of 7:00-9:00 and courtyards that look as if they come from Mussolini, addressed the crowds on the a popular haunt for strolling, dining and 17:00-20:00. Tickets are available from bars, piazza below. It was constructed in 1935. browsing in up-market boutiques. Narrow the 18th century, an old washhouse on the tobacconists, stationers, newspaper stands, or The site had previously been reserved streets give the area its atmosphere; unusual edge of a stream, artists’ workshops, two station vending machines. for a second Triumphal Arch to balance shops ensure there’s always something to canals and the quasi-abandoned Darsena For full information and a route map, the entrance to the shopping mall, the see. Call in at Fabriano, for quality writing lake. (Tip: bring mosquito repellent.) East visit: www.atm-mi.it Galleria, opposite. In 2011, after 10 years of accessories, paper, cards, and gift ideas, of the canals, deeper into the working class restoration, the Arengario re-opened as the or browse through Cavalli e Nastri’s trove Ticinese area, you’ll find interesting old The following congresses will be held in “Museum of the 1900s.” Displaying over 400 of vintage designer clothing, bags, hats buildings, cafes and small restaurants. Many Milan in September 2012: works of 20th century art, it provides a rare and jewellery. A magnet for art lovers of the original factory worker families still 3rd EuCornea Congress (6-8 Sept); overview of “Futurism,” an Italian/Fascist is the Pinacoteca di Brera, the National live here – despite the area’s growing appeal 2nd World Congress of Paediatric social and artistic movement that died out Art Gallery, housed in a magnificent to middle class and professional people. Ophthalmology and Strabismus (7-9 Sept); with the end of WW II. There are wonderful old convent. The Botanical Gardens, an Metro: Porta Genova. From the Duomo, a 12th EURETINA Congress (6-9 Sept); views of the Piazza from the Arengario, enclosed oasis behind the Pinacoteca, walk to Ticinese takes about 30 minutes. XXX Congress of the ESCRS (8-12 Sept). EUROTIMES | Volume 17 | Issue 4.
Recommended publications
  • Espongo Quadri Per Cambiarvi La Vita
    COPERTINA COLORI E NOTE James Bradburne guida la Pinacoteca di Brera dal 2015 (nella foto, durante la presentazione del Ritratto del Conte Antonio di Porcia di Tiziano “ospite illustre” del Grattacielo Intesa Sanpaolo) me valorizzare le competenze di ognuno. Mediatore quando comunico al mondo il Espongo quadri museo, quando reintroduco i quadri e i libri del passato in un discorso contempo- raneo di civiltà». Nato nel 1955, cittadino britannico, per cambiarvi la vita Bradburne si appassiona fin da bambi- no ai paesaggi del canadese Lawren Har- ris (1885-1970), studia architettura a Lon- za utopia non si fa la realtà. Scritti sul dra, poi museologia ad Amsterdam e Ber- Il direttore della Pinacoteca vuole portare a termine Museo (1952-1975), edito da Skira, cura- keley. Nel 1986, nel progettare i padiglio- la “Grande Brera” e ha un piano per farlo. Che non si to da Erica Bernardi e ripubblicato gra- ni dell’Esposizione internazionale di Van- zie alla sua tenacia (l’unica edizione Fel- couver, impara a “leggere” il primo bilan- ferma al museo. E punta al cuore dei suoi visitatori trinelli, dopo 40 anni, era ormai intro- cio economico. Colleziona libri antichi, vabile). «Per Russoli – racconta Bradbur- scrive libri per ragazzi e ha una predi- | DI MARINA MOJANA ne – la Grande Brera era un percorso che lezione speciale per un grande telero di incominciava con la chiesa qui a fianco, Gentile e Giovanni Bellini conservato a irettore generale della Pinacoteca to da una squadra efficiente di segre- passava all’Orto, all’Osservatorio e finiva gno, ad esempio, organizzerà il “Ballo di alla musica e alle famiglie, svelando labo- Brera; è La predica di San Marco in una di Brera e della Biblioteca Braiden- tarie, giovani blogger e addette stam- al Teatro alla Scala.
    [Show full text]
  • 36. Allestimento Della Pietà Rondanini Nel Museo Del Castello Sforzesco a Milano
    Gruppo BBPR (Gian Luigi Banfi, Ludovico Barbiano di Belgiojoso, Enrico Peressutti, Ernesto Nathan Rogers) 36. Allestimento della Pietà Rondanini nel Museo del Castello Sforzesco a Milano a. Paolo Monti (Novara, 1908 - Milano, 1982) L’allestimento della Pietà Rondanini dello Studio BBPR nella sala degli Scarioni del Museo del Castello Sforzesco a Milano - sala XV 1956 fotografia, 240 × 180 mm Milano, collezione Alberico di Belgiojoso, foto n. 188 b. Paolo Monti L’allestimento della Pietà Rondanini dello Studio BBPR nella sala degli Scarioni del Museo del Castello Sforzesco a Milano – sala XV 1956 fotografia, 300 × 210 mm Milano, collezione Alberico di Belgiojoso, foto n. 243 c. Studio BBPR Progetto di allestimento. Vista assonometrica ante 1956 riproduzione fotografica del disegno, 220 × 165 mm Milano, collezione Alberico di Belgiojoso d. Studio BBPR Progetto di allestimento. Pianta e sezione ante 1956 riproduzione fotografica del disegno, 250 × 345 mm Milano, collezione Alberico di Belgiojoso Fu Riccardo Bacchelli a scrivere nel 1952 il testo ufficiale di benvenuto per It was Riccardo Bacchelli who wrote in 1952 the official welcome address for la Pietà Rondanini che, dalla collezione romana della famiglia dei conti Sanse- the Pietà Rondanini that arrived in Milan from the Roman collection of the verino Vimercati, giungeva a Milano per trovare poi sistemazione nel Museo family of the counts Sanseverino Vimercati to then find a home at the Museo del Castello Sforzesco. Il testo era incentrato sul valore della scultura ma anche del Castello Sforzesco. The address focused on the sculpture’s value but also sull’importanza di accogliere una così importante opera per una città come Mi- on the importance for a city like Milan – which had emerged from the ruins lano, uscita dalle rovine della guerra e avviata a un’opera di ricostruzione non of war and set out on a project of reconstruction regarding not only the city’s solo edilizia ma anche economica e culturale.
    [Show full text]
  • Piero Della Francesca a MILANO
    Nelle sale del Museo Poldi Nelle sale della Pinacoteca MUSEO Pezzoli è esposto il San Nicola PINACOTECA di Brera è esposta una delle POLDI PEZZOLI da Tolentino di Piero della DI BRERA opere più celebri di Piero Francesca, unico pannello della Francesca, la Pala di Brera, conservato in Italia della pala ambientata all’interno d’altare eseguita dal maestro di un mirabile spazio di Borgo Sansepolcro per architettonico. La tavola l’altare maggiore della chiesa fu eseguita a Urbino, di Sant’Agostino della sua città. probabilmente fra il 1472 L’esecuzione di questa grande e il 1474 (ma secondo alcuni ancona è documentata in un studiosi la sua realizzazione arco cronologico assai ampio, potrebbe risalire alla metà degli dal 1454, data del contratto anni sessanta), su commissione di commissione, al 1469, di Federico di Montefeltro, quando in una quietanza che vi è raffigurato in veste di pagamento si dichiara di donatore. Si tratta della prima che la tavola è ormai conclusa; pala d’altare unificata realizzata si ritiene tuttavia che sia stata da Piero della Francesca, dipinta in massima parte in uno stile che mostra nella seconda metà degli un’ulteriore evoluzione rispetto anni sessanta. Il San Nicola al Polittico agostiniano, da Tolentino del Museo Poldi in direzione di un’ancora Pezzoli rappresenta quindi maggiore attenzione – ispirata l’ultima pala d’altare eseguita alla pittura fiamminga – alla da Piero a Borgo Sansepolcro, rappresentazione lenticolare in tempi contigui a quelli di ogni dettaglio e alla resa in cui dipinse proprio degli effetti di luce. la Madonna della Misericordia esposta a Palazzo Marino.
    [Show full text]
  • The National Gallery Immunity from Seizure
    THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Lorenzo Lotto Portraits 05 Nov 2018 - 10 Feb 2019 The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Lorenzo Lotto Portraits 05 Nov 2018 - 10 Feb 2019 The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Lorenzo Lotto Portraits. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Lorenzo Lotto Portraits 05 Nov 2018 - 10 Feb 2019 Protection under the Act is sought for the objects listed below: Lorenzo Lotto (about 1480 - 1556/7) © Gemäldegalerie, Staatliche Museen zu Berlin, Preußischer Kulturbesitz / Photo: Jörg P. Anders X9438 Portrait of an Architect c. 1536 Place of manufacture: Venice Oil on canvas Object dimensions: 105 × 82 cm Gemäldegalerie, Staatliche Museen zu Berlin Lender's name and address Gemäldegalerie Gemäldegalerie Matthäikirchplatz 10785 Berlin Germany Provenance: Part of the Giustiniani Collection acquired by Prussian King Friedrich Wilhelm III, 1815.
    [Show full text]
  • Gennaio - Febbraio 2020 Programma Delle Proposte Culturali Gennaio - Febbraio 2020 Riepilogo Delle Proposte Culturali
    GENNAIO - FEBBRAIO 2020 PROGRAMMA DELLE PROPOSTE CULTURALI GENNAIO - FEBBRAIO 2020 RIEPILOGO DELLE PROPOSTE CULTURALI CONFERENZE - PRESENTAZIONI 14 gennaio Il Neo-classicismo nel palazzo di Brera 21 gennaio Japonisme à Paris 28 gennaio George de la Tour, poeta della notte 4 febbraio Arte e architettura sacra nel Canton Ticino 11 febbraio Alle origini del design - parte II: Italia/Francia, 1900-1930. 18 febbraio Tempo di esporre: nuove vie per un museo narrante 3 marzo “Amate l’architettura”: Gio Ponti visto con altri occhi PALAZZI, MUSEI E SITI ARTISTICO/ARCHITETTONICI 20 gennaio La Torre alla Fondazione Prada 29 gennaio Prima del design: gli arredi antichi al Castello Sforzesco 31 gennaio Il nuovo museo dei Cappuccini e la collezione Rusconi 3 febbraio Percorso di architettura: il Neo-medievalismo milanese VISITE A CHIESE 23 gennaio San Sepolcro e la cripta 10 febbraio San Nazaro 12 febbraio San Giorgio al Palazzo e il Tempio di San Sebastiano 17 febbraio La cappella di S. Aquilino e i suoi mosaici restaurati in San Lorenzo VISITE A MOSTRE 12 gennaio A Firenze: Natalia Goncharova, l’amazzone dell’Avanguardia! 16 gennaio Canova versus Thorvaldsen alle Gallerie d’Italia 24 gennaio “Milano anni 60” a Palazzo Morando, e alcune architetture del Quadrilatero 30 gennaio Emilio Vedova, uno e plurimo, a Palazzo Reale 1 febbraio La Madonna Litta, dall’Ermitage al Poldi Pezzoli : ultima chiamata… 5 febbraio “Milano anni ‘60” a Palazzo Morando, e alcune architetture del Quadrilatero 6 febbraio Filippo De Pisis : tra pittura e poesia al Museo del ‘900 20 febbraio “George de la Tour - l’Europa della luce” a Palazzo Reale 25 febbraio “George de la Tour - l’Europa della luce” a Palazzo Reale 28 febbraio Una giornata emiliana 4 marzo “George de la Tour - l’Europa della luce” a Palazzo Reale In copertina: George de la Tour, Maddalena “penitente”, 1640 circa, olio su tela, cm 128 x 94.
    [Show full text]
  • Milan and the Lakes Travel Guide
    MILAN AND THE LAKES TRAVEL GUIDE Made by dk. 04. November 2009 PERSONAL GUIDES POWERED BY traveldk.com 1 Top 10 Attractions Milan and the Lakes Travel Guide Leonardo’s Last Supper The Last Supper , Leonardo da Vinci’s 1495–7 masterpiece, is a touchstone of Renaissance painting. Since the day it was finished, art students have journeyed to Milan to view the work, which takes up a refectory wall in a Dominican convent next to the church of Santa Maria delle Grazie. The 20th-century writer Aldous Huxley called it “the saddest work of art in the world”: he was referring not to the impact of the scene – the moment when Christ tells his disciples “one of you will betray me” – but to the fresco’s state of deterioration. More on Leonardo da Vinci (1452–1519) Crucifixion on Opposite Wall Top 10 Features 9 Most people spend so much time gazing at the Last Groupings Supper that they never notice the 1495 fresco by Donato 1 Leonardo was at the time studying the effects of Montorfano on the opposite wall, still rich with colour sound and physical waves. The groups of figures reflect and vivid detail. the triangular Trinity concept (with Jesus at the centre) as well as the effect of a metaphysical shock wave, Example of Ageing emanating out from Jesus and reflecting back from the 10 Montorfano’s Crucifixion was painted in true buon walls as he reveals there is a traitor in their midst. fresco , but the now barely visible kneeling figures to the sides were added later on dry plaster – the same method “Halo” of Jesus Leonardo used.
    [Show full text]
  • Abbazie Testo Ing
    THE PRECIOUS JEWELS OF THE MONASTIC ORDERS ANCIENT ABBEYS IN THE LOWLAND OF MILAN Among these monasteries we like to present the Cistercian centers of Chiaravalle and Morimondo, and those of Viboldone and Mirasole founded by the religious order of Humiliati. We must not forget that, in the past, in the vicinity of Chiaravalle and Viboldone, the navigable channel Vettabbia, dating back to Roman times, was an important means of transport of goods towards the Lombard capital, thus connected with the river Lambro, the Po and with Comacchio. ABBAZIA DI CHIARAVALLE The Cistercian A b b ey of Santa Maria di Chiaravalle, was founded in Lombardy, already home to numerous Benedictine monasteries, in 1035, thanks to the generosity of the Milanese population. It is the work of the n o ble Burgundian San Bernardo (1090 - 1153), abbot of Clarivaux and charismatic leader of the yo u n g Cistercian religious order, an important branch of the great Benedictine fa m i ly. Like the nearby abbey of Morimondo, the church and the adjoining monastery of Chiaravalle were built according to the tradition of the Cistercians, exploiting the typical local bricks. The abbey, erected near the Roman road towards the river Po , brought prosperity and importance to the economy throughout the area, thanks to the work of reclamation of the monks and the consequent flourishing of fa r ming and agriculture. The imposing elegant towe r, which still stands with its conical spire on the green countryside of Milan, was a symbol of reference for all the surrounding areas and a sign of the undisputed power of the monastery and the religious order.
    [Show full text]
  • Environmental Risk Management for Museums in Historic Buildings Through an Innovative Approach: a Case Study of the Pinacoteca Di Brera in Milan (Italy)
    sustainability Article Environmental Risk Management for Museums in Historic Buildings through an Innovative Approach: A Case Study of the Pinacoteca di Brera in Milan (Italy) Elena Lucchi EURAC Research, Politecnico di Milano, 20133 Milano, Italy; [email protected] Received: 9 May 2020; Accepted: 22 June 2020; Published: 24 June 2020 Abstract: In the contemporary age, museums are dealing with unexpected challenges, related to the transformation of social structures, educative methods and cultural diffusion. The conversion of heritage buildings into exhibition halls and the renovation of existent exhibits involve a series of environmental risks and preservation issues. The study aims to demonstrate that conservation and human comfort are mutually compatible, when based on rational planning, interdisciplinary cooperation, and extensive knowledge of the features of buildings and collections. This study carries out an operative strategy for assessing and managing the environmental risks in museum buildings. To validate its suitability, it is applied to the Pinacoteca di Brera in Milan (Italy), an old palace completely reshaped in the 20th century following the typical design concepts of the “Modern Movement of Architecture” (e.g., rational planning, use of innovative technologies and materials, profusion of natural light integrated with artificial lighting, etc.). Several solutions adopted in these years caused both heritage decay and human discomfort. In addition, the insertion of new functions required a complete modification of the original design project. For this reason, the proposed tool supports the environmental risk management connected with these transformations, also defining clear maintenance guidelines, and planning low-engineering and low-impact solutions to satisfy, in a practical way, the daily needs of conservators, heritage authorities and designers.
    [Show full text]
  • Sebastiano Del Piombo and His Collaboration with Michelangelo: Distance and Proximity to the Divine in Catholic Reformation Rome
    SEBASTIANO DEL PIOMBO AND HIS COLLABORATION WITH MICHELANGELO: DISTANCE AND PROXIMITY TO THE DIVINE IN CATHOLIC REFORMATION ROME by Marsha Libina A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland April, 2015 © 2015 Marsha Libina All Rights Reserved Abstract This dissertation is structured around seven paintings that mark decisive moments in Sebastiano del Piombo’s Roman career (1511-47) and his collaboration with Michelangelo. Scholarship on Sebastiano’s collaborative works with Michelangelo typically concentrates on the artists’ division of labor and explains the works as a reconciliation of Venetian colorito (coloring) and Tuscan disegno (design). Consequently, discourses of interregional rivalry, center and periphery, and the normativity of the Roman High Renaissance become the overriding terms in which Sebastiano’s work is discussed. What has been overlooked is Sebastiano’s own visual intelligence, his active rather than passive use of Michelangelo’s skills, and the novelty of his works, made in response to reform currents of the early sixteenth century. This study investigates the significance behind Sebastiano’s repeating, slowing down, and narrowing in on the figure of Christ in his Roman works. The dissertation begins by addressing Sebastiano’s use of Michelangelo’s drawings as catalysts for his own inventions, demonstrating his investment in collaboration and strategies of citation as tools for artistic image-making. Focusing on Sebastiano’s reinvention of his partner’s drawings, it then looks at the ways in which the artist engaged with the central debates of the Catholic Reformation – debates on the Church’s mediation of the divine, the role of the individual in the path to personal salvation, and the increasingly problematic distance between the layperson and God.
    [Show full text]
  • Exhibiting Renaissance Art at the Poldi Pezzoli Museum in Milan
    Renaissance 3/2015 - 1 ,ederica Manoli 23&i"itin' Renaissance 1rt at t&e Poldi Pezzoli M*se*m in Milan ,rom t&e Permanent 4ollection to +em(orar- 23&i"itions ,i'$ 15 Poldi Pezzoli M*seum, t&e Golden Room at t&e "eginnin' of t&e 20t& cent*r-$ Gian Giacomo Poldi Pezzoli (1822-1879), a Mila- Moreover, t&e director &ad to "e t&e same o) t&e nese aristocrat, is no!n a"ove all as an art col- Pinacoteca di .rera$ Poldi Pezzoli also (rovided lector$ %e died in 1879 &avin' !ritten in &is !ill t&at &is &eirs !o*ld reco'nize an ann*it- o) t&at &is a(artment and all t&e !orks o) art ei'&t t&o*sand liras to t&e m*se*m, and t&at t&e &o*sed in it &ad to "ecome an artistic )o*nda- latter sho*ld "e *sed to (*rc&ase art!orks and tion o(en to t&e (*"lic$[1] +&e ,o*ndation &ad to to ta e care o) t&e m*se*m0s conservation and "e named a)ter &is )amily, to remain (rivate and mana'ement activities$ +&e M*se*m o(ened to to "e mana'ed !it& t&e same r*les o) t&e Pina- t&e (*"lic in 1(ril 1881$ coteca di .rera, t&e /ational M*se*m in Milan$ ,ederica Manoli 23&i"iting Renaissance 1rt at the Poldi Pezzoli Museum in Milan *nstte3te$de 3/2015 - 2 ,i'$ 25 Poldi Pezzoli M*seum, t&e .lack Room at t&e "egin- ning o) t&e 20t& cent*r-$ Poldi Pezzoli &ad started &is career as a collec- connoisse*r and, "esides "ein' an art e3(ert tor in 1868, "- (*rc&asin' arms, armo*rs, and &imsel), &e also &ad im(ortant co*nselors, suc& 7e!els.
    [Show full text]
  • Last Supper for King Francis I; a Masterpiece in Gold and Silk
    Leonardo da Vinci’s Last Supper for King Francis I; a masterpiece in gold and silk CHÂTEAU DU CLOS LUCÉ PARC LEONARDO DA VINCI Exhibition from 7th June to 8th September 2019 THE VATICAN MUSEUMS THUS PAY TRIBUTE TO LEONARDO’S GENIUS An historic loan from the Vatican Museums Barbara Jatta, Director of the Vatican Museums The Vatican Museums are taking part in the fifth-centenary celebrations of Leonardo da Vinci’s death during 2019 with various initiatives. This exhibition on the precious Vatican tapestry of The Last Supper at the Château de Clos Lucé in Amboise is perhaps the most representative of these but also of the multifaceted activities carried out today in the Vatican Museums, encompassing research, restoration and collaboration with various institutions at a range of levels. The papal museums thus pay tribute to Leonardo’s genius. It was a pleasure and an honour to enter into contact with the French institutions and thus resume a relationship that dates back to 1533, when the renowned tapestry, sumptuously woven in silk with silver and gold thread and a border of crimson velvet, was presented to Clement VII by François I of France on the occasion of the marriage of his son and heir Henry of Valois and the Pope’s niece Catherine de’ Medici. The ceremony was performed by Clement VII himself with all due pomp in Marseille in the autumn of 1533. The tapestry, whose origin and provenance have been the object of hypotheses and conjectures, is still so shrouded in mystery that it has even proved impossible to identify the workshop involved.
    [Show full text]
  • The Kiss by F. Hayez
    DESCRIVEDENDO THE MASTERPAINTINGS OF BRERA The Kiss by Francesco Hayez ​ Pinacoteca di Brera, Room 38 Formal Description The painting's full title is The Kiss. An Episode of Youth. Costumes of the ​ ​ ​ th 14 Century​ , but it is more commonly known as just The Kiss. It was ​ ​ ​ ​ painted by Francesco Hayez in 1859. It is a rectangular oil painting on canvas, the longer side being the vertical one, and it measures 112 cm in height by 88 cm in width. The subject matter is fairly simple: the painting provides a realistic depiction of a young man and a young woman passionately embracing as they kiss each other on the lips. The two figures, elegantly clad in medieval attire, are in an empty space inside a period building. The viewpoint is from the front, with the two lovers portrayed full-figure and approximately half life-size. To get a clearer idea of the painting, we should try to imagine it split into nine equal sections obtained by crossing three vertical columns with three horizontal lines. For the sake of convenience, we can number each sector like the keypad on a phone from left to right: 1, 2, 3 at the top; 4, 5, 6 in the middle; and 7, 8, 9 at the bottom. Let us begin our description with the central sections, 5 and 8 (and 2, in part) which is where the two young lovers are situated in the painting. They are standing one in front of the other: the girl in the foreground with her back towards us is almost enveloped by the boy who, on the contrary, is facing us.
    [Show full text]