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Pittura Di Luce a Brera

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Pittura Di Luce a Brera Pittura di luce a Brera La definizione “pittura di luce” è stata coniata dalla critica in anni recenti per descrivere una breve ma significativa stagione dell'arte centro italiana di metà Quattrocento, legata in particolare a Domenico Veneziano. In essa il rigore prospettico si unisce allo studio dei percorsi luminosi, i toni cromatici si schiariscono e le forme, rese attraverso volumi sintetici, misurano con la loro concreta presenza il contesto spaziale in cui sono inserite. La fucina di queste esperienze è Firenze, dove giungono artisti da ogni parte della Penisola, attratti dalle possibilità di lavoro accanto a maestri come Beato Angelico, Domenico Veneziano, Filippo Lippi. Anche Giovanni di Francesco del Cervelliera (il “Maestro di Pratovecchio”) si forma sui loro esempi, e la Madonna col Bambino appena acquistata dalla Pinacoteca di Brera ne è testimonianza. Questo percorso si svolge dunque fra dipinti braidensi che, come la tavola del Maestro di Pratovecchio, hanno (sia pure in modo e misura diversi) comuni riferimenti alla stagione fiorentina della “pittura di luce”. I documenti ci informano della presenza a Firenze, dal 1443, del pittore camerinese Giovanni Angelo d’Antonio. Nel suo polittico (7° decennio XV sec., Sala XXI) le figure umane, costruite attraverso volumi geometrizzanti, sono investite da una luce forte e diffusa. Sebbene le figure appaiano come compresse nello spazio limitato delle edicole, l’impostazione prospettica è studiata, in particolare nel trono scorciato della Vergine o, ad esempio, nel galero di San Gerolamo (estrema destra nel registro superiore): i due fiocchi scarlatti che pendono al di qua della mensola proiettano la propria ombra sul davanzale, misurando così la profondità dello spazio. L'opera è di circa due decenni successiva al soggiorno fiorentino del suo autore, ma porta ancora evidenti i segni di quell’esperienza soprattutto nell’attenzione ai percorsi della luce e nella limpidezza dei toni cromatici. Proprio un incomprensibile scarto in questo rigore (nel registro superiore la luce viene da sinistra mentre in quello inferiore viene da destra) ha fatto notare alla critica che l’opera nasce dall’assemblaggio novecentesco di due politici differenti, ed ha permesso dunque di ricostruirne la storia. Accanto ad essa vediamo una tavola raffigurante San Pietro (6° decennio XV sec., Sala XXI), attribuita a Bartolomeo di Giovanni Corradini detto Fra Carnevale. L’artista, di nascita e formazione urbinate, è a Firenze nel 1445 come collaboratore di Filippo Lippi. Il frutto di tale frequentazione si scorge nel panneggio e nella barba del santo, resi con il tratto guizzante ed energico proprio del maestro toscano. La luce viene dall’alto e scivola sulle sobrie cornici a finto marmo dello sfondo, segnando in modo impietoso le fragilità fisiche del santo. Anche se si tratta di un singolo pannello, dalla cura con cui il pittore segna la disposizione spaziale dei piedi possiamo intuire l’attenzione che doveva avere riservato all’organizzazione prospettica complessiva, sull’esempio dell’ultima attività fiorentina di Domenico Veneziano In questa breve rassegna l’unico pittore fiorentino di nascita è Benozzo Gozzoli, allievo e stretto collaboratore di Beato Angelico. Nella tavoletta San Domenico risuscita Napoleone Orsini ucciso da un cavallo (7° decennio XV sec., prossimamente nella Sala XXI), proveniente da una predella smembrata, il pittore regala un racconto di estrema freschezza narrativa, dai colori molto vivaci. La fonte di luce proviene da sinistra e invade tutto l’ambiente, esaltandosi nell'intenso chiarore delle architetture, della tunica del santo, del manto del cavallo. La sua funzione unificatrice è resa ancor più esplicita dall’ambientazione esterna della scena. Un’atmosfera più cupa pervade il Cristo in pietà tra la Vergine e San Giovanni (7° decennio XV sec., prossimamente nella Sala XXI), opera ancora di Benozzo e parte anch'essa di una predella andata perduta. Le figure, disposte simmetricamente, si stagliano su un paesaggio aperto, che si perde all’orizzonte. Il Cristo è perno della scena: attraverso il gesto delle braccia, distese verso i limiti del sarcofago, si pone al centro di una studiata piramide spaziale. La celebre Pala di Montefeltro (Sala XXIV) di Piero della Francesca conclude questo itinerario tra artisti toccati dalla “pittura di luce”. Piero è testimoniato a Firenze attorno al 1439, coinvolto proprio con Domenico Veneziano nella realizzazione di un ciclo di affreschi in Sant'Egidio ora perduti (le sue opere più antiche ci mostrano l’importanza che ebbe per lui questa esperienza). Nella tavola di Brera, che è uno dei suoi risultati più maturi, l’artista utilizza l’olio assieme alla tempera, restituendo magistralmente le morbide variazioni della luce sui corpi e velando di riflessi sottili anche le ombre. L'effetto complessivo è monumentale e verosimile. Le figure si dispongono in uno spazio sobrio e sontuoso allo stesso tempo, la cui struttura appare facile solo ad un osservatore superficiale: ad uno sguardo più attento, infatti, gli interrogativi sulle caratteristiche spaziali dell'ambiente si moltiplicano. L’uovo infine, che pende dalla conchiglia nell’abside, arricchisce l’opera di rimandi simbolici e ulteriori, facendone un meditato invito alla riflessione. Testi di Filippo Ciavarella con la supervisione dei Servizi Educativi della Pinacoteca di Brera .
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