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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.
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  • Bramantino L’Arte Nuova Del Rinascimento Lombardo Museo Cantonale D’Arte, Lugano 28 Settembre 2014 – 11 Gennaio 2015

    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.