“Artisti Dei Laghi” : the Colomba Family of Arogno

SPECIAL FEATURE world, and gain a better understanding of things new, the Colombas were invited to the major centres of Europe as Acknowledgments to they were recognized Fabio Delucchi and Lo renzo Sganzini. as well-informed . artists. fully· equipped in the new Baroque IJ The Artists style, in the new The Colomba family of Arogno comprised. five aesthetic philosophy artisti dei laghi ('artists of the lakes'), · so called of the Baroque. As because their place of origin lay in the region of the such the Colombas Pre-Alpine Lakes. These were Andrea, stuccateur succeeded m (1567-1627); Giovanni Antonio, stuccateur (1585- organizing 1650); Giovanni Battista, stuccate.ur, painter, themselves m highly architect, and entrepreneur (1638 [?]-1693); Luca specialized and Antonio. painter (1674-1737); and Giovanni qualified itinerant Battista Innocenzo, painter and scenographer workshops. From a (1717-1801). In a pleasant and very readable guide close study of the book, Lucia Pedrini Stanga h as succeeded in routes followed by the reconstructing in fascinating detail an admirable artistic members of biography of these little-kno~n Baroque artists, the Colomba family in one that appeals both to the general reader and to the seventeenth and the student of art and historian. eighteenth centuries. it can be noted that This important contribution to the history of the the migratory flow Baroque artistic legacy has been promoted by the ranged from as far joi.nt initiative of the Swiss canton of Ticino. the south as Naples and Lombardy region, and the Council of Europe. It Rome, to London and covers two centuries of 'adventure' which may, in Vienna, Warsaw and all fairness, be termed of considerable historical Prague, indeed, as far and artistic significance - providing deep insights as Moscow and St into the grand movement of professional artists, Petersburg. Their begun towards the end of the sixteenth century and travels not only stretching to the end of the eighteenth century. promoted their The work is lavishly illustrated in both colour and artist~c talents; they black and white, and done so marvelously by any reconfirmed their professional criteria. capacity to 'create The author questions, with ample supporting culture'. In this way, evidence, the traditionally held view that misery observes Pedrini and misery alone must have lain behind Alpine Stanga, 'these migration; that poverty and poverty alone must professional artists have been the driving force behind the movement. contributed to the The case of the Colombas of Arogno was indeed a fusion of regional and classic example of 'artistic intefnationalism' national styles in a common movement of countries situated on Driven into exile partly by their strong desire to both sides of the free themselves from the restrictions of their own 1·\lps.' Travelling national confines, get a wider knowledge of the a rtists had indeed 8 been one of the main driving forces 'behind the It was Lorenzo stylistic unification and the permeation between Sganzini who had the forms of the mid-European Baroque and th9se originally come up of the Italian Baroque.' The net result was a with the idea of the common European art. 'The Alps,' she so very Artisti dei Laghi accurately points out, 'long considered an element project. He is of division, had in fact assumed the role of a vehicle currently its for closer relationship, a meeting place of men, coordinator . .ideas, and artistic trends. From Arogno to Bissone. Maroggia, and Lugano; from Arogno to Drcscia, Berenno, and Trento; · from Arogno to Vienna, &1rea ha* his Warsaw, and Prague; and indeed, to London.' original idea of such a proJ~pt .~N,~erged, The migratory movements of the Colombas have Lof~ffio . · ..·;;. sganzmi been characterized by brief pauses, by frequent and replied: · continuous comings and goings. These artisti dei laghi used to leave home almost invariably in Once we became .F'ebruary, says the author, 'shortly after their aware of t.he Council country had celebrated the feast of Our Lady of the of Europe's great Rosary.' Their choice of time was not only programme of determined by its religious significance. It had also cultural routes, we · social and cultural implications, intimately thought it would be connected with the migratory practices of the local interesting to inhabitants. The timing 'signalled the departure of develop, within this -~· ...... migrants from the village and preceded wedding already-existing I· • celebrations that were generally held before framework, the theme spring.' of artic;tic mjgration from the region of the Prc-Alpine Lakes of 0 The Artistic Itinerary Project Italy and ~witzerland in the past centuries. Today, the term Artisti dei Laghi carries a second, Through the cultural though closely_related, connotation. The Swiss routes, the Council of canton of Ticino, in collaboration with the Italian Europe in fact seeks region of Lombardy (as has already been indicated) to authenticate the have agreed to render due homage to these artists formative historical through the Artisti dei Laghi itinerary project, a process of Europe, its cultural journey which, through a series Qf reconstruction across activities and publications, will lead (it is hoped) to peoples and nations, the rediscovery of the migration of architects, thanks to the decorators, painters, and stuccateurs, that were exchange of ideas and active throughout Europe between 1500 and 1800. commodities, trade, The project has been recognized, ever since 1987, cultural and artistic by the Council of Europe as a cultural route, apart networks, religious from constituting a tourist attraction. It consists in currents, and so on. the organization of exhibitions and other activities From this point of around specific themes by various European view, we thought it countries. Such themes have already included 'St opportune to draw James of Campostella', 'Rural Habitat', 'Baroque', attention also to the 'The Silk Route', 'The Celts', 'The Vikings', and contribution given by "Mozart'. these artists to this open and multiple European identity. It 9 was in part also to the credit of these individuals - artistic migration. who travelled freely throughout Europe according For the realization of to the possibilities of work that they encountered - a route that may be that for at least three centuries, from the early defined European in Baroque to Neoclassicism, art in Europe developed all its aspects and at the same rhythm and with more or less similar manifestations, it is stylistic changes. necessary to involve similar projects emanating from other countries and other Recognition came only after a long phase during contexts. which the Council of Europe sought very did meticulously to ascertain the validity of the project. Wilattdiifu:Ulties ~9J5~~~tiri~:f?Jn. + With the help of a scientific commission, one that included such art historians as Carlo Bertelli and As in the case with Mariusz Karpowicz, we endeavoured to define with several other cultural utmost clarity the methods to be adopted and the projects, the one constituent elements of the project. Especially major problem is to challenging was the Council of Europe's attitude, find the necessary indeed its disposition to extend what may be funds. Then there is termed 'a privileged focus' - in relation to the the problem inherent traditional capitals of European culture - on to a in the very nature of hidden legacy, peripheral and still awaiting the project an evaluation. Standing out within this legacy are the inteni.ational project many architectural and artistic jewels of the such as this, which regions lying off the valleys of Lombardy and aims at cutting across Ticino. Very often these include autographed works frontiers, is of art by artists who were, at one time or another, understandably more active through most of Europe. difficult to realize. There is always - the \\ilia b actiViti~s are "~nvi~dg~a'\&itffin tiiis' pto)~ct ? temptation to seek The cultural routes of the Council of Europe are refuge in one's own not considered as an end-product but rather as a national confines. continuous process of evolution. In our case, the Finally, to book on the work-routes followed by the Colomba understand clearly family of Arogno, written by Lucia Pedrini Stanga, the mechanisms of together with a seminar held at Mendrisio in 1994, the Council of Europe were simply the first two stages in this process. has not been a very The second volume should appear shortly. Written easy task. by Simonetta Coppa and Silvia Colombo, it deals Nevertheless, it has with the artistic itineraries of the Corloni family of been through the Scaria. These artists include a great master of superb organization international Rococo - Carlo Innocenzo Carloni. of the Council of Moreover, in recent years we h ave been in touch Europe that a with several scholars throughout Europe who are precious host of vital currently pursuing research in this particular field. acquaintances and The intention is to create a ne~work of scholars to very useful contacts promote collaboration in this specialized area of have been made. study. These will definitely We have drawn up a fairly detailed map of what prove of extreme can be achieved in the coming years with regard to benefit not only to the the major issues involved in the entire field of current project m lO particular, but also to the wider field of historical and artistic research of all participating ---·~-- institutions. .

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