DOCSLIB.ORG

State'-' Museums of Berlin. Fo-Ufctlcn

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
State'-' Museums of Berlin. Fo-Ufctlcn T 1 ( CoPvt' OF Tr^LOTuk) \)^ ^BMoRfmpvM CN| (ou/MT (g!VT(n (S State’-' Museums of Berlin. fo-UfcTlcN - Ncv/.!Q24-. (see Mftl?GHN FO? RfF, Tc? BANTINGS /ScW Kaiser-Nriedrich-Kuseum, ,N $,h 1 <fefc« &u.ecTto/s.) Berlin C2. Beginning of November 1924. Bear Count Contini, In order to retain in a measure the impression which your magnificent collection has made upon me, I have made a short com­ pilation of my notes which I made during the beautiful days at your home, while standing before the art works. As I know that my opinions on some of your paintings are of a certain value to you I send you herewith a copy of these notes. What a surprise your collections was I have already told you verbally: not only by the number and quality of the master­ pieces, but by their choice and arrangement in your rooms, by the mixture with sculptures and colorful majolicas of the same period and the furnishing of the rooms excellent old furniture also of the A periods. This was a small triumph for me, as I have ever striven for this arrangement and furnishing —as you will know from our K.51.Museum--/ In a certain sense you have created a museum, but haie at the same t ime understood, by the limitation to a certain period— essentially the Renaissance-- to obtain a uniform effect in the decoration of your villa. You have properly excluded the paintings on a gold background, which within the last decades, have ueen so much soyght for by collectors. They do not belong in living rooms, as tney were intended for the outfitting of private chapels or as traveling altars. You have been most fortunate in your search for paintings of the Venetian Renaissance. Such a number of master works of almost air the painters of the Quattrocento and the CinquecentoJ Starting already with the Bellinis. Your Madonna by Gian Bellini is in its monumental structure and its colorful effect one of 2 of* great master of the early Venetian school from the time of 14 70. Tiie different strong red colors give an overwhelming impress— sion. And the representation of the Crucified One between the sor­ rowing haiv and John gjxaangxs —&■ in the impressive evening lande- SGaPe are not to be forgotten, when once one has been imbued there- v.itn. -fhat progress as compared with the same represBDtation by the artist in the Cower Museum.* How lustrously does the head of the Savior lie on the bright evening sky, how impressive is the sorrow ox those belonging to the Lord.* It was a satisfaction for me to see -;.is magnificent painting come into its full value, after I had acquired it from the Rudolf Kann collection, a purchase which was not consumated due to the intrigues of a colleague from Munich. Of the younger artists e-roua*- Bellini the clear, cool Annunciation by Cima is probably a part of a larger altar piece. 31 r 10 Slna11 Madonns ’°y Carlo Crivelli is^fine work from youth of - rs highly attuned individual artist, who as well as a colorist as Mso as a dramatic depictor belongs to the greatest among the Vene- '■V' ti-u-.s. A valuable possession are also the two female figures by Re: Gwflccto" jZiltore Carpaccio, works of his later period as also the two female Km"25 (SaintS in the ^lle^ of To this fit well, although not of the greatness of these paintings, the two Saiits'picturea by F.Eis- fa Shuba j solo• The Holy Family by Antonello da Salih, a masterpiece of litoLY Fft-Muy Mo 1 S’? this young painter formerly mistaken for his great contryman and n®6-sake^Trom Messina. It will I hope sometime ceed its place to a work of the great Antonello, as should also be upon occasion replac ed the two Madonnas by Bartolomeo Montagna by en important WQrk Qf this worthy master. Astonishingly large is the number of masterpieces in your collection of the great Venetians of the Cinquecento.’ Above all ±k three works by Titian. The large holy Sebastian, 3 Sxkxs±±xK "by far excels in freshness xxd of 44^ conception and pictr orial quality the study for the Sebastian on the altar panel from o which it further essentially differs, in the Pinakthek of the Vati- can. Of gripping earnestness in conception and broad pictorial treat­ ment in the blackish tone is the head of an older man, presumably one of the Farnese, essentially later than the Sebastian. *in respect to the Pieta we hopje later to obtain more definite knowledge from Professor Longhi. Close to this socalled Farnese comes in pictorial treatment and in the blac^ + n rr^nifi^nt large portrait by Sebastiano del Piombo which doopi'jj-c Titiar^magnif icently represents this master; a man with a gorgeous costume and proud bearing, a fal- large con on his hand. As a counterpiece there hangs a portrait by Tinto- retto: the man with the furs) probably a worthy subject of magnifi- ' A. cent conception and treatment) Next to this, there is a smaller xx portrait of a lady, no# the less excellent by its fine moderation; Tintoretto gave the lady a charming expression which for him is rare, Very gorgeous compositions equal to the ceiling paintings in Venice appear by the photographs which I only know so far, to be the large magnificent declarative iiecres with mythological subjects in an unusual light coloring. In the large portrait of the Count della Porta,, who is drawing his little son to himself, you posses the master work among the portraits bp Paolo Veronese. Besides the33 great masters of the classical period the Lorenzo Lotto almost ap- Family of a bright coloring. However the large portrait of a lady, who stands before a rich curtain, is of such stately effect, that, pro aches tie simultaneous portraits by Titian. The younger masters about Titian are also well represented; Mo .*o*] Bonifazio by a Holy Conversation, Schiavone and Bassano. By the latter three excellent paintings with one of the frequent landscapes WLcgii from the country life carried out in fine style, the represen* tation of the (elements of which the fourth one is in private posses- sion at Berlin. How close the portrait of a shepherd approaches Giorgione and hov; the large portrait of a lady can be proven as a late work by Catena will, I hope7 soon be told us by the Longhi catar logue, Above all, I am however curious how he will prove his attri­ bution of the large nude sleeping Venus with two doves on the side as a work by G. A.Pordenone. The imposing painting acts as a fact by its monumental forms similarly to the works of this outsider to the Venetian school; the strikingly cool tone fits him and the soft, in part thin manner of painting is prabably explained by the fact, that the painting does not seem +o be entirely finished. A most remark­ able counterpiece to the sleeping Venus by Giorgione at Dresden, I still forgot the Lazaro Sebastiani, the fiesurrection of Christ so uncommon by its fine coloring. Almost as rich as in Venetian works is your collection in paintings of the "Terra Birma" which are more or less d ependent on trie Sc bool oi Venice, -ou still lack a work by Mantegna xhxiskL who aside fiom Venice exerteo the greatest influence on the artists from Padua to the Savoy. I know how difficult they are to find, but I am convinced that^will be successful in this also* In the meantime a marvelous small painting which formerly adorned the collection of Count Gregor Stroganoff: an allegory painted on a black back ground in gold by nrcole Hooerti must represent Mantegna, "whose similarly painted inserts in architecture the ^errarese here imitates. Very remarkable is the Madonna on a golden-back ground which Prof. LonghL 5 ascribes to Francesco Cossa as a youthful v;ork, Very comprehensive and important works of the Ferrara school are the Sorrowing for &h Christ by Grandi and Christ on the Mount of Olives with its strong landscape effect and the fine portrait of the donor in the fore­ ground by Dosso dossi. Of the early masters of Verona I noticed the typical jnrsrw, plaintings by Liberale (Sebastian), Giolfine (his beloved Lucretia) and Falconetto aside from a pair of pre-eminent works: the very ori­ ginally devised Annunciation by Francesco Morone and the Adoration Rp v Pc/Vt5M (CC I M eft CM p. K(g,56' with the glorious evening sky closely approaching Pisanello by Dorn, v Morone. The small ^adonna by Garoto shows h£is leaning toward the compositions of Raphael. In the western province: in Brescia and Bergamo^the Venetian art had its most enthusiastic followers and adr- C f v/Ko/V'i herents in Romanino, Moretto and Moroni, Of all your gallery has ^ ft5: No.llS good example^; among others by Moroni an excellent portrait of a 8V AAQRoiM I monk all in white, with a decorative still life an the table bo lore him. To this farthest western xrnaa colony of the Venetian art of painting tnere also Delongs the Cremonese successor of Bellini: Bocaccio Bo^cacino, by whom you have a small Madonna. Interesting are thepiUnting^you have of the Lombardian mast- Re: tfo. n er^/i-n scarce on the^market, of the early Renaissance. By Fop^a you have the Sermon by Jthe Baptist; by his scholar A.Borgognone ci Madonna and a Crucifixion; by Bramantino like a Madonna end a seiles of sinmle figures of Saints.
Load more

Recommended publications
  • BERNARDINO LUINI Catalogo Generale Delle Opere
    CRISTINA QUATTRINI BERNARDINO LUINI Catalogo generale delle opere ALLEMANDI Sommario Abbreviazioni 7 1. Fortune e sfortune di Bernardino Luini 27 2. La questione degli esordi ALPE Archivio dei Luoghi Pii Elemosinieri, Milano, Azienda di Servizi alla Persona «Golgi-Redaelli» e del soggiorno in Veneto AOMMi Archivio dell’Ospedale Maggiore di Milano 35 3. Milano nel secondo decennio APOFMTo Archivio della Curia Provinciale OFM di Torino del Cinquecento ASAB Archivio Storico dell’Accademia di Brera di Milano ASBo Archivio di Stato di Bobbio 61 4. Le grandi commissioni ASCAMi Archivio Storico della Curia Arcivescovile di Milano degli anni 1519-1525 ASCMi Archivio Storico Civico di Milano 77 5. 1525-1532. Gli ultimi anni ASCo Archivio di Stato di Como ASDCo Archivio Storico Diocesano di Como ASMi Archivio di Stato di Milano 89 Tavole ASMLe Archivio di San Magno a Legnano, Milano ASS Archivio Storico del Santuario di Saronno, Varese Le opere ASTi Archivio di Stato del Cantone Ticino, Lugano 125 Dipinti IAMA Istituto di Assistenza Minori e Anziani di Milano Sopr. BSAE Mi Ex Soprintendenza per i Beni storici artistici ed etnoantropologici per le province 413 Dipinti dubbi, irreperibili o espunti di Milano, Bergamo, Como, Lecco, Lodi, Monza e Brianza, Pavia, Sondrio e Varese, 421 Alcune copie da originali perduti ora Soprintendenza Archeologia, belle arti e paesaggio per la città metropolitana di Milano e Soprintendenza Archeologia, belle arti e paesaggio per le province di Como, Lecco, e derivazioni da Bernardino Luini Monza-Brianza, Pavia, Monza e Varese. 429 Disegni 465 Opere perdute f. foglio rip. riprodotto 471 Regesto di Bernardino Luini s.d.
    [Show full text]
  • Geometry and Art, What a Concept! Mayra Muller-Schmidt Sharpstown Middle School WHAT WILL THEY SEE? “Now Class, Visualize a Cu
    Geometry and Art, What a Concept! Mayra Muller-Schmidt Sharpstown Middle School WHAT WILL THEY SEE? “Now class, visualize a cube . .” Some pupils will immediately think of a piece of ice; others can see a three-dimensional cubed shape in their mind’s eye; yet other children will still see a flat square. An ordinary cube is made up of six squares; however, so many students fail to establish an articulate difference between a square and a cube. Geometric forms are numerous and perhaps confusing to a young mind that hasn’t yet formulated a real sense of perceiving dimension, vocabulary, or comprehension of forms. Connecting Different Cognitive Skills Can Connect the Dots . My interest in integrating and emphasizing geometry is twofold. Geometric shapes are some of the strongest forms used in modern art. Geometry has a strong history that, throughout the centuries, has been involved, integrated, and eventually indispensable in art and architecture. Artists have studied geometry in order to draw angles, proportion, and perspective, in order to illustrate or emote the illusion of realism. Geometric forms, currently, are explored and seen everyday in our surroundings. Geometry is an important subject, one which plays a strong part as a tool in art and needs to be emphasized at some point in a person’s education. Students can benefit from the awareness that art and math share a significant part together. Surely, a secondary reason for weaving geometry into an art unit is to strengthen and complement both subject matter skills. The practice and repetition of maneuvering shapes and forms and then relating them to math vocabulary will enhance knowledge for those who already have a strong sense for forms, angles, and dimension.
    [Show full text]
  • Sacro Monte Di Varallo
    SACRI MONTI DI PIEMONTE E LOMBARDIA - UNESCO WORLD HERITAGE Briga (CH) SACRO MONTE DI VARALLO Locarno (CH) Surface area: 22 hectares United Nations Sacri Monti del Piemonte Riserva speciale DOMODOSSOLA Educational, Scientific and e della Lombardia Sacro Monte Cultural Organization Iscritti nella lista del Patrimonio di Varallo Lugano (CH) Mondiale nel 2003 Elevation: 455 - 650 metres GHIFFA SS33 Environment: Mountain SS34 Verbania OSSUCCIO SS340 Aosta-Ginevra (CH) VARESE Como Sacro Monte VARALLO ORTA A26 SP229 A9 OROPA A8-A26 A5 SP299 A8 SP144 Borgomanero di Varallo Biella Romagnano SP338 Venezia SP230 A4 PROTECTED AREA Cuorgné Ivrea The Sacro Monte di Varallo is the most important of the SS565 A4-A5 Novara MILANO Valperga pre-alpine Sacro Monte both for its artistic and historical Vercelli Bologna BELMONTE A4 Firenze significance and for its naturalistic make-up, rich in SP460 Roma M. Dallago SP590 A26-A4 A26 autochthonous and exotic plants arranged following the Serralunga Photo SP457 Casale Monferrato patterns of the Italian Renaissance gardens which aimed at CREA TORINO emphasizing the nearby architectural structures. Although Savona Moncalvo Alessandria-Genova the territory of the Reserve has been profoundly altered by man, after years of gradual abandonment, the forest covering has slowly been returning floral elements that Access to the Sacred Mount is free of charge have developed and today accounts for more than 421 HOW TO GET THERE species. Inside the sacred area, the natural environment Note: Access by bus is subject to specific rules and payment has been strongly shaped by man to resemble the typical Info and permits: Municipal Police of Varallo - tel +39 0163 562727 gardens of Renaissance Italy.
    [Show full text]
  • Koller Auktionen - Lot 3007 A190 Tableaux De Maîtres Anciens - Vendredi 27 Septembre 2019, 14H00
    Koller Auktionen - Lot 3007 A190 Tableaux de Maîtres Anciens - vendredi 27 septembre 2019, 14h00 Workshop of PEDRO FERNÁNDEZ DE MURCIA (active circa 1489 – 1523) Christ carrying the cross. Oil tempera on canvas laid on panel. 115.8 x 83.5 cm. Provenance: Swiss private collection. This hitherto unpublished painting of Christ carrying the cross provides an insight into a fascinating chapter within Renaissance painting of the Iberian Peninsula in the early 16th century. The great artistic innovations of the Italian High Renaissance brought about by the triumvirate of Leonardo (1452 – 1519), Raphael (1483 – 1520) and Michelangelo (1475 – 1564) and the political circumstances in Italy, encouraged and inspired Iberian painters to travel to Italy Koller Auctions, Hardturmstrasse 102, 8031 Zürich. Tel +41 44 445 63 63. [email protected] Koller Auktionen - Lot 3007 A190 Tableaux de Maîtres Anciens - vendredi 27 septembre 2019, 14h00 towards the end of the 15th century, in order to develop their artistic skills. This occurred initially in Lombardy, in close proximity to Leonardo da Vinci, who at the time was working at the court of the Sforza in Milan (1482 – 1499) and, after a temporary return to Florence (1500 – 1506), later renewed his activities in Milan which was by then under French control. Amongst the Iberian artists who had migrated to Italy and whose path must have crossed that of Leonardo, were Fernando Llanos (active circa 1506 – 1516), Fernando Yanez (circa 1475 – 1536), Alfonso Berruguette (circa 1488 – 1561) and Pedro Fernández. While Fernando Yanez and Fernando Llanos probably accompanied Leonardo from Milan to Florence, where they supported the Florentine artist in his work “The Battle of Anghiari”, and then, after Leonardo’s return to Milan, themselves returned to their Spanish homeland, Pedro Fernández then travelled from Milan to Naples and Rome, where he worked until the second decade of the 16th century.
    [Show full text]
  • The Sacro Monte of Varallo As a Physical Manifestation of the Spiritual Exercises Ryan Gregg
    The Sacro Monte of Varallo as a Physical Manifestation of the Spiritual Exercises Ryan Gregg Still an active religious institution, the Sacro Monte, or Sa- Despite Longo’s insightful discussion, scholars have failed cred Mountain, of Varallo in Italy’s Piedmont region is the to examine the most significant alteration made at the Sacro culmination of more than four centuries of construction, in- Monte during the sixteenth century, the addition of grilles. To tention, and use. The complex now consists of forty-three chap- aid in the implementation of Borromeo’s plan, gates and grilles els set within a forested park traversed by pathways (Figure were added to all of the chapels, barring a pilgrim from entry 1). Each chapel displays a scene from the life of Jesus com- and restricting his participation in the scene to that of dis- posed of three-dimensional polychromed figure groups, illu- tanced observer. This paper examines the addition of the grilles sionistic frescoes, and assorted props, such as tables, chairs, in terms of how it affected the spatial experience of the viewer and table settings (Figure 2). The created scenes resemble as dictated by Post-Tridentine doctrine. Specifically, it con- tableaux vivants in their lifelikeness, a quality enhanced by siders these barriers in terms of the Spiritual Exercises and the original freedom of a pilgrim to physically enter the chap- what Loyola termed the meditative “composition of place.”4 els and walk through the scenes, becoming, in effect, a par- Beginning with a brief discussion of the origins and early ticipant in the action.
    [Show full text]
  • Aggiunte a Bramantino
    ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte AGGIUNTE A BRAMANTINO CARSE, incerte, ma soprattutto confu.se son rono tre circostanze: che l'influsso bramantesco, Sle notizie intorno a Bartolomeo Suardi. Non come è noto, si manifesta non nelle primissime è noto infatti ·nè l'anno della sua nascita, nè quello opere del Suardi (Cristo del Mayno, Adorazione della sua morte, come non un solo quadro reca Ambrosiana, Madonna di New York) ma nelle la sua firma o porta una data. Così che mentre successive (Pietà della Chiesa del S. Sepolcro, solo approssimativamente si possono segnare i Argo del Castello Sforzesco, Cristo della Badia limiti della sua esistenza, indicare le tappe della di Chiaravalle; 2) che Bramante appare in Milano sua carriera, per comprendere e seguire lo svol­ a lavorare nella Chiesa di S. Maria presso San gimento dell' arte sua Satiro circa il 1480 (esi­ non si può che porsi in stono,idocumenti del diretta comunicazione 1482); ed infine, che con le sue opere. 1'Argo Sforzesco 3) è Il soprannome di anteriore al 1500 anno " Bramantino " ci dice della seconda e de­ del suo alunnato presso finitiva caduta del Bramante da Urbino, Moro. alunnato che dovette ne­ Come per altre opere cessariamente svolgersi del Suardi così pure per innanzi al 1499, anno l'affresco sforzesco la della caduta di Ludovico datazione si era basata il Moro e della conse­ unicamente sull' esame guente partenza di Do­ stilisti co facendolo por­ nato per Roma. Ma il re fra i più tardi lavori Suardi non lasciò come del primo periodo lom­ molti altri artisti, la me­ bardo, poco innanzi cioè tropoli Lombarda all' ar­ il 1508, anno in cui, se­ rivo dei francesi con condo un documento Luigi XII.
    [Show full text]
  • La Pittura Cinquecentesca Di Bernardino Luini
    Adorazione dei Magi - RUBRICHE Santuario di Saronno Provincia da scoprire La pittura cinquecentesca di Bernardino Luini In questa puntata, Varesefocus presenta Bernardino Luini, nativo della Val Dumentina, che con la sua pittura testimonia come l’arte lombarda, nei primi anni del Cinquecento, si aprì alle novità introdotte da un grande artista come Leonardo. Luini ha lasciato importanti decorazioni a Milano, Lugano e a Saronno, nel Santuario della Madonna dei Miracoli, dove si trova uno splendido ciclo di affreschi dedicati alla vita della Vergine e di Gesù. L’ARTE A MILANO ALL’INIZIO DEL alle opere da lui lasciate nella città. Le più recenti ricerche CINQUECENTO storico-artistiche stanno mettendo in luce le peculiari Tra il 1506 e il 1513 Leonardo soggiornò a Milano per personalità di tali pittori, dal momento che le loro la seconda volta: la sua presenza determinò la testimonianze risultano molto significative nel panorama formazione di una vasta schiera di artisti, venuti a della pittura lombarda fra Quattro e Cinquecento. diretto contatto con lui. Alcuni furono, con molta probabilità, diretti collaboratori Questi pittori sono stati genericamente chiamati di Leonardo e, nelle loro opere, si ispirarono al suo “leonardeschi”; essi non costituirono una vera e propria sfumato ed alla malinconica ed ambigua bellezza delle “scuola” raccolta intorno a Leonardo ma furono sue immagini; altri, invece, recepirono e interpretarono le accomunati dal riferimento al suo linguaggio artistico ed proposte leonardesche, cercando di rinnovare la Anno X - n.2 - VARESEFOCUS 59 Provincia da scoprire tradizione locale grazie ai nuovi influssi ed a personali aggiungono le sugges- Le composizioni di Luini, approfondimenti.
    [Show full text]
  • 5.1 Gaudenzio Ferrari. Christ on His Way to the Praetorimn (Detail). Polychromed Sculpture with Other Media. Varallo, Sacro Monte
    Originalveroffentlichung in: Reframing the Renaissance, Visual Culture in Europe and Latin America 1450-1650, hg. von Claire Farago, Yale University Press, New Haven und London 1995, S. 113-126 und 319-21 5.1 Gaudenzio Ferrari. Christ on his Way to the Praetorimn (detail). Polychromed sculpture with other media. Varallo, Sacro Monte. (Photo: Riserva del Sacro Monte di Varallo.) CHAPTER 5 "Popular" Art in Renaissance Italy: Early Response to the Holy Mountain at Varallo ALESSANDRO NOVA The first Sacro Monte, or Holy Mountain, was founded in the late fifteenth century by the Franciscan Observant Bernardino Caimi. It was established at Varallo (Piedmont), which at that time formed part of the Milanese duchy, and the principal function of the Sacro Monte was to offer an accurate reconstruction of Jerusalem with its environs for those pilgrims who could not travel to the Holy Land. Indeed, an inscription painted over the entrance to Varallo's reproduction of the Holy Sepulchre, recording its comple• tion in 1491, could not have been more explicit: "The Milanese friar Bernardino Caimi designed the sacred places of this mountain, so that those who cannot make the pilgrimage see Jerusalem here."1 The original scheme was fairly modest, but the number of structures built to display the sculptural groups and frescoes representing Christ's life and Passion, as well as the life of the Virgin, increased considerably during the sixteenth century. The Sacro Monte reached its apogee under the guidance of Charles Borromeo and his collaborators, who created a network of Sacn Monti in the region between the Lombard lakes and the Swiss border.
    [Show full text]
  • Mary Magdalene's Conversion in Renaissance Painting And
    Mary Magdalene’s Conversion 175 Chapter 9 Mary Magdalene’s Conversion in Renaissance Painting and Mediaeval Sacred Drama Bram de Klerck Introduction Mary Magdalene’s conversion to Christianity must have been a turning-point of paramount importance in her life. According to many a legendary source, the saint had been notorious for ostentatiously enjoying her youth, her physi- cal beauty and her material wealth. At some point, however, she must have felt the urge to change her ways, to follow Jesus Christ and to dedicate herself to his teaching. The first manifestation of this is often considered to have been her humble and revering behaviour towards Christ when he stayed in the house of a Pharisee called Simon, as described in the Gospel according to St. Luke. A woman, in the Western tradition commonly identified with the Magdalene, entered the house, started weeping remorsefully over Christ’s feet, and subse- quently dried them with her own hair, kissed them and anointed them. If this nameless woman should indeed be identified with Mary Magdalene, this would imply that the latter’s actual conversion had already occurred before the episode in the Pharisee’s house. Surprisingly, this crucial moment in Mary’s life has rarely been narrated in textual sources, nor has it very often been depicted in the visual arts In the present contribution, I will explore the relationship between text and image, in relation to the portrayal of Mary Magdalene in the Late Middle Ages and the Renaissance in the Western World, and more specifically with regards to portrayals of her conversion.
    [Show full text]
  • Leonardo Da Vinci's
    National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master National Gallery Company London Distributed by Yale University Press TB32 prelims exLP 10.8.indd 1 12/08/2011 14:40 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2011 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including BRISTOL photocopy, recording, or any storage and retrieval system, without © Photo The National Gallery, London / By Permission of Bristol City prior permission in writing from the publisher. Museum & Art Gallery: fig. 1, p. 79. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria degli Uffizi, Florence © Galleria deg li Uffizi, Florence / The Bridgeman Art Library: fig. 29, First published in Great Britain in 2011 by p. 100; fig. 32, p. 102. © Soprintendenza Speciale per il Polo Museale National Gallery Company Limited Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività St Vincent House, 30 Orange Street Culturali: fig. 1, p. 5; fig. 10, p. 11; fig. 13, p. 12; fig. 19, p. 14. © London WC2H 7HH Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali / Photo Scala, www.nationalgallery. org.uk Florence: fig. 7, p.
    [Show full text]
  • Performing the Renaissance Body and Mind
    111 PERFORMING THE RENAISSANCE BODY AND MIND: SOMAESTHETIC STYLE AND DEVOTIONAL PRACTICE AT THE SACRO MONTE DI VARALLO Allie Terry-Fritsch Abstract This essay examines the somaesthetic experience of renaissance pilgrims to the Sacro Monte di Varallo, a late fifteenth- century simulation of the Holy Land located in northern Italy. It reconstructs how pilgrims once cultivated their bodies and minds to enhance aesthetic and devotional experience to offer a re-evaluation of artistic style at the site. Built by a team of architects, painters and sculptors at the behest of Franciscan friars, the Sacro Monte di Varallo transformed the mountainous terrain of the Val Sesia into a ‘true representation’ of Bethlehem and Jerusalem. The Holy Land was presented to the pilgrim in a series of interactive spaces housed in independent architectural units, each containing life-sized wooden or terracotta sculptures of Biblical figures adorned with real hair, clothes and shoes, and situated in frescoed narratival environments. Pilgrims were led to each architectural site along a fixed path and encountered the Biblical scenes in a strict sequence that was narrated by a Franciscan friar. If the pilgrim engaged in proper performances of body-mindfulness, the site served as a pilgrimage destination that was equally enriching as ‘the real thing’. The essay questions how the somaesthetics of experience at Varallo served to enfold pilgrims into multi-sensory, immersive scenarios and thereby allowed pilgrims to activate the art and architecture of the Franciscan campus in personalised ways. Through their physical and mental participation in the works, pilgrims actively constructed the means for the art and architecture of the holy mountain to fulfill and even surpass the power of the real Holy Land.
    [Show full text]
  • Bramantino L’Arte Nuova Del Rinascimento Lombardo Museo Cantonale D’Arte, Lugano 28 Settembre 2014 – 11 Gennaio 2015
    LAC Lugano Arte e Cultura Bramantino L’arte nuova del Rinascimento lombardo Museo Cantonale d’Arte, Lugano 28 settembre 2014 – 11 gennaio 2015 a cura di Mauro Natale Conferenza stampa: venerdì 26 settembre 2014, ore 11 Inaugurazione: sabato 27 settembre 2014, ore 17 Comunicato stampa Dal 28 settembre 2014 all’11 gennaio 2015 il Museo Cantonale d’Arte di Lugano presenta Bramantino. L'arte nuova del Rinascimento lombardo, un’importante esposizione dedicata a Bartolomeo Suardi detto il Bramantino (doc. 1480–1530), fra le personalità più emblematiche del Rinascimento nell’Italia settentrionale. La mostra, a cura di Mauro Natale , con la collaborazione di Edoardo Rossetti, ripercorre l'itinerario culturale ed espressivo dell’artista a partire dagli esordi, secondo una sequenza cronologica ragionata e nuova rispetto alle proposte fino ad ora formulate dagli studiosi: dalle prime opere (ad esempio la Madonna con il Bambino del Museum of Fine Arts di Boston) alla collaborazione con l’architetto e pittore Donato Bramante – da cui ha tratto il soprannome con il quale è noto ancora oggi – fino alle ultime opere conosciute tra le quali la Fuga in Egitto custodita in Ticino, nel santuario della Madonna del Sasso a Orselina . Proprio in occasione della mostra, che vede riunirsi eccezionalmente diversi capolavori del Bramantino nella sede del Museo Cantonale d’Arte di Lugano, l’Ufficio dei beni culturali ha deciso di promuovere, in collaborazione con il museo , il restauro di questo dipinto , che costituisce una delle più importanti testimonianze di epoca rinascimentale presenti sul territorio ticinese. Oltre al dipinto di Orselina è possibile ammirare in mostra altri capolavori restaurati per l’occasione tra i quali spicca la Madonna in trono con il Bambino e santi della Galleria degli Uffizi , che si può adesso apprezzare nella sorprendente cromia originale, luminosa e cristallina, restituita dal restauro.
    [Show full text]