DOCSLIB.ORG

Equestrian Monument to Bartolomeo Colleoni, 19Th Century

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Equestrian Monument to Bartolomeo Colleoni, 19Th Century anticSwiss 25/09/2021 21:41:26 http://www.anticswiss.com Equestrian monument to Bartolomeo Colleoni, 19th century FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:28cm Material:Bronzo Price:1200€ DETAILED DESCRIPTION: 19th century Equestrian monument to Bartolomeo Colleoni Dark patina bronze with marble base, cm alt 28 The work in question is a reproduction of the famous equestrian monument executed by Andrea del Verrocchio for Campo San Zanipolo in Venice between 1480 and 1488. It represents the leader Bartolomeo Colleoni (1395 / 1400-1475), one of the most enterprising captains of fortune of the Republic of Venice of the fifteenth century. He plays the classic bold and daring leader, full of charm and pride. He was at the service of the Serenissima and of Filippo Maria Visconti. The equestrian statue theme has been particularly prevalent in Western sculpture since Greek art. From the Roman imperial age this subject took on a heroic but also propaganda function that will characterize it until the twentieth century. More or less famous leaders were portrayed in this capacity; famous are the examples of Marcus Aurelius, Napoleon and Garibaldi, numerous are the works of this kind that adorn the main Italian and foreign squares. The realization of an equestrian monument, by one of the greatest artists of the fifteenth century, for the leader Bartolomeo Colleoni, who died a few years earlier, was decreed by the Republic of Venice in 1479. The following year the execution was entrusted to the Florentine Andrea Verrocchio (Florence, 1437 - Venice, 1488), however he disappeared before the work was finished. Verrocchio had appointed Lorenzo di Credi as heir and executor, but the Venetian Signoria preferred Alessandro Leopardi, a local artist, to him. For the realization of the group Verrocchio was inspired by the equestrian statue of Gattamelata by Donatello made between 1446 and 1453 for the Piazza del Santo in Padua, the ancient statue of Marcus Aurelius, the horses of San Marco and the Regisole of Pavia, bearing in mind also paintings such as the fresco by Paolo Uccello in Santa Maria Novella representing Giovanni Acuto. Verrocchio's work is the first bronze equestrian statue to portray one of the horse's legs in a raised position, thus underlining the majestic gait of the animal in step. The fusion of this model of classic memory and faithful historical reconstruction, as typical of the nineteenth-century spirit, appears of remarkable quality. Very detailed, down to the smallest detail, is the chiseling of the bronze: the armor of the 1 / 3 anticSwiss 25/09/2021 21:41:26 http://www.anticswiss.com leader, the helmet, the bridle, the mane, the tail, the vestments of the horse. All designed to give immediacy and vibrant brightness to the sculpture. https://www.anticswiss.com/en/fine-art-antiques/equestrian-monument-to-bartolomeo-colleoni-19th-century-21103 2 / 3 anticSwiss 25/09/2021 21:41:26 http://www.anticswiss.com Gallery 3 / 3 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).
Load more

Recommended publications
  • Leonardo Da Vinci and the Persistence of Myth Emily Hanson
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2012 Inventing the Sculptor: Leonardo da Vinci and the Persistence of Myth Emily Hanson Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Hanson, Emily, "Inventing the Sculptor: Leonardo da Vinci and the Persistence of Myth" (2012). All Theses and Dissertations (ETDs). 765. https://openscholarship.wustl.edu/etd/765 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department of Art History & Archaeology INVENTING THE SCULPTOR LEONARDO DA VINCI AND THE PERSISTENCE OF MYTH by Emily Jean Hanson A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 2012 Saint Louis, Missouri ACKNOWLEDGEMENTS I wouldn’t be here without the help and encouragement of all the following people. Many thanks to all my friends: art historians, artists, and otherwise, near and far, who have sustained me over countless meals, phone calls, and cappuccini. My sincere gratitude extends to Dr. Wallace for his wise words of guidance, careful attention to my work, and impressive example. I would like to thank Campobello for being a wonderful mentor and friend, and for letting me persuade her to drive the nearly ten hours to Syracuse for my first conference, which convinced me that this is the best job in the world.
    [Show full text]
  • Equestrian Monument to Bartolomeo Colleoni, 19Th Century
    anticSwiss 30/09/2021 08:14:52 http://www.anticswiss.com Equestrian monument to Bartolomeo Colleoni, 19th century FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:28cm Material:Bronzo Price:1200€ DETAILED DESCRIPTION: 19th century Equestrian monument to Bartolomeo Colleoni Dark patina bronze with marble base, cm alt 28 The work in question is a reproduction of the famous equestrian monument executed by Andrea del Verrocchio for Campo San Zanipolo in Venice between 1480 and 1488. It represents the leader Bartolomeo Colleoni (1395 / 1400-1475), one of the most enterprising captains of fortune of the Republic of Venice of the fifteenth century. He plays the classic bold and daring leader, full of charm and pride. He was at the service of the Serenissima and of Filippo Maria Visconti. The equestrian statue theme has been particularly prevalent in Western sculpture since Greek art. From the Roman imperial age this subject took on a heroic but also propaganda function that will characterize it until the twentieth century. More or less famous leaders were portrayed in this capacity; famous are the examples of Marcus Aurelius, Napoleon and Garibaldi, numerous are the works of this kind that adorn the main Italian and foreign squares. The realization of an equestrian monument, by one of the greatest artists of the fifteenth century, for the leader Bartolomeo Colleoni, who died a few years earlier, was decreed by the Republic of Venice in 1479. The following year the execution was entrusted to the Florentine Andrea Verrocchio (Florence, 1437 - Venice, 1488), however he disappeared before the work was finished.
    [Show full text]
  • Bergamo Miniguide
    gb BERGAMO Art city Mini guide of the city SquareS • MonuMentS • HiStory • tHeatreS • CHurcheS MuSeums • architeCture • tranSport • uSeful inforMation 2 BetWeen TWo ToWnS BeRgAMo 3 visit to Bergamo is a journey between two towns, one on a hill, the other on the plain; two towns that are essentially different but linked, not only by history, but also by a dense web of streets, alleys and cobbled stairways. Bergamo is a people-friendly city thanks to its open spaces, Athe beauty and atmosphere of its attractions and the quality of life. for this reason it is a city well worth visiting, even without planning a precise itinerary. our tour begins in the hilltop town, where we can savour the atmosphere of the historic centre and its monuments, and the lights and character of Piazza Vecchia, Sentierone which recall Venice of old. it then continues in search of the LARGO FUNICOLARE COLLE APERTO PER SAN VIGILIO VIA DELL GAMEC (Gallery of Modern beautiful views across the plain A BO CCO P P LA ZO LOREN VIA DELLA FARA PIAZZA and towards the Alps from extraor- N and Contemporary Art) A A P R CITTADELLA S A PIAZZA I MU dinary panoramic positions on top of V E L L. MASCHERONI PIAZZALE L PARCO P E SANT’AGOSTINO D V D. RIMEMBRANZE the civic tower (Campanone - Big I E A L S P IA V A PIAZZA Bell), the Rocca (fortress) and the N LA FARA LA NOCA PIAZZA DEL S MERCATO IA A V PIAZZA LV VECCHIA V D. FIENO A I A gombito tower.
    [Show full text]
  • BARTOLOMEO COLLEONI (Solza 1395 – Malpaga 1475) TERZA UNIVERSITA’ 2019/2020 VILLA D’ADDA-SOTTO IL MONTE-CARVICO Seconda Parte: Incontro Del 17 Ottobre 2019
    BARTOLOMEO COLLEONI (Solza 1395 – Malpaga 1475) TERZA UNIVERSITA’ 2019/2020 VILLA D’ADDA-SOTTO IL MONTE-CARVICO Seconda parte: incontro del 17 ottobre 2019 Preparato dai messaggi esibiti davanti e sopra la facciata, il visitatore che varca il portale si trova in uno spazio cubico -corrispondente al quadrato esterno- che richiama tanto la tipologia brunelleschiana della cappella Pazzi di Santa Croce e della sagrestia vecchia di San Lorenzo a Firenze quanto il più recente vano della cappella Portinari di San’Eustorgio a Milano (pianta quadrata con annessa scarsella per l’altare pure quadrata). Si tratta di uno spazio raccolto (situato tra l’alto arco -voltato sopra il sarcofago e la statua equestre- e il rosone che sovrasta il portale) attraversato dalla luce che dal rosone si proietta sullo sfondo blu -della parete retrostante la statua cavalcata dal condottiero- allusivo al cielo delle ore notturne, quando il sole resta nascosto agli umani. La collocazione della propria effige entro il percorso del sole -l’astro che “tramonta” ma non muore”- doveva stimolare la meditazione dei visitatori giunti davanti al sarcofago del defunto sia nella direzione paganeggiante dell’immortalità conseguita da Ercole sia in quella cristiana della fede in Cristo morto e risorto. 1) COLLEONI “REGI-SOLE” La lettura paganeggiante della biografia colleonesca ha dato credito perfino alla leggenda della scomparsa delle spoglie mortali dal sarcofago, che in realtà furono solo recentemente ritrovate -nel 1969- sulla scorta delle indicazioni offerte dal volume di Angelo Meli <<Bartolomeo Colleoni nel suo mausoleo>> pubblicato nel 1966 ( nella cassa furono rinvenuti -come detto sopra- anche gli speroni, il bastone di comando, la spada, e la lastra funeraria con la data esatta della morte, avvenuta il 3 novembre 1475).
    [Show full text]
  • Bartolomeo Colleoni 1 Bartolomeo Colleoni
    Bartolomeo Colleoni 1 Bartolomeo Colleoni Bartolomeo Colleoni (1400 – 2 November 1475) was an Italian condottiero. Life Colleoni was born at Solza, in the countryside of Bergamo (Lombardy), where he prepared his magnificent mortuary chapel, the Cappella Colleoni, in a shrine that he seized when it was refused him by the local confraternity, the Consiglio della Misericordia. The family was a noble one, exiled with the rest of the Guelphs by the Visconti. Bartolomeo's father Paolo seized the castle of Trezzo by wile and held it by force, until he was assassinated by his cousins, probably acting on The famous equestrian statue of Bartolomeo Colleoni by order of Filippo Maria Visconti, duke of Milan. Verrocchio in Venice The young Colleoni trained at first in the retinue of Filippo d'Arcello, the new master of Piacenza. Then he entered the service of various condottieri, beginning with Braccio da Montone, who was skirmishing in Apulia, profiting from the struggles between Alfonso of Aragon and Louis of Anjou during the weak sovereignty of Queen Joan II by taking Alfonso's cause, and then of Carmagnola. After the latter was put to death at Venice (1432), Colleoni passed to direct service of the Venetian republic, entering on the major phase of his career. Although Gianfrancesco Gonzaga was nominally commander-in-chief, Colleoni was in fact the true leader of the army. He recaptured many towns and districts for Venice from the Milanese, and when Gonzaga went over to the enemy, Colleoni continued to serve the Venetians under Erasmo da Narni (known as Gattamelata) and Francesco Sforza, winning battles at Brescia, Verona, and on the lake of Garda.
    [Show full text]
  • Patrician Lawyers in Quattrocento Venice
    _________________________________________________________________________Swansea University E-Theses Servants of the Republic: Patrician lawyers in Quattrocento Venice. Jones, Scott Lee How to cite: _________________________________________________________________________ Jones, Scott Lee (2010) Servants of the Republic: Patrician lawyers in Quattrocento Venice.. thesis, Swansea University. http://cronfa.swan.ac.uk/Record/cronfa42517 Use policy: _________________________________________________________________________ This item is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence: copies of full text items may be used or reproduced in any format or medium, without prior permission for personal research or study, educational or non-commercial purposes only. The copyright for any work remains with the original author unless otherwise specified. The full-text must not be sold in any format or medium without the formal permission of the copyright holder. Permission for multiple reproductions should be obtained from the original author. Authors are personally responsible for adhering to copyright and publisher restrictions when uploading content to the repository. Please link to the metadata record in the Swansea University repository, Cronfa (link given in the citation reference above.) http://www.swansea.ac.uk/library/researchsupport/ris-support/ Swansea University Prifysgol Abertawe Servants of the Republic: Patrician Lawyers inQuattrocento Venice Scott Lee Jones Submitted to the University of Wales in fulfillment of the requirements for the Degree of Doctor of Philosophy 2010 ProQuest Number: 10805266 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • Use of FBG Sensors for Monitoring Cracks of the Equestrian Statue of Bartolomeo Colleoni in Venice
    F. Felli et alii, Frattura ed Integrità Strutturale, 30 (2014) 48-54; DOI: 10.3221/IGF-ESIS.30.07 Focussed on: Fracture and Structural Integrity related Issues Use of FBG sensors for monitoring cracks of the equestrian statue of Bartolomeo Colleoni in Venice F. Felli, A. Brotzu, D. Pilone, C. Vendittozzi Dip. ICMA, Sapienza Università di Roma, Via Eudossiana 18, 00184 Roma, Italy [email protected] M.Caponero ENEA Via E. Fermi 45, 00044 Frascati, Roma ABSTRACT. The Bartolomeo Colleoni monument suffered for years damage from the local climate. The process of restoring the Colleoni equestrian statue, started in 2003, allowed to understand how the bronze statue was originally cast and manufactured and the techniques used in its construction. During this process a relevant crack on the right foreleg was investigated in correspondence of the cast-on joining the right foreleg to the front portion of the horse body. The crack was investigated experimentally by Fiber Bragg Grating (FBG) sensors, avoiding any modelling because of the very complex structure of the statue. An array of FBG sensors connected in series was glued on the crack with the aim of capturing live information about the effect of applying stress on the crack opening. The monitoring system was successfully tested during repositioning of the RIDER on the horse and is available for long term inspection of the crack opening evolution. KEYWORDS. FBG sensors; Health monitoring; Crack monitoring; Restoration; Colleoni equestrian statue. INTRODUCTION he Bartolomeo Colleoni equestrian statue, located beside the Scuola Grande di San Marco in the Campo SS Giovanni e Paolo, was erected in fulfillment of a request made by the mercenary captain before his death in 1475.
    [Show full text]
  • Bartolomeo Colleoni Nel Suo Feudo
    Eventi colleoneschi 2018 Comune di Coglia a Palosco Vecchio stemma Palosco del Comune di Palosco Bartolomeo Colleoni nel suo feudo Conferenza Relatore: Gabriele Medolago Direttore - Progetto Coglia Auditorium comunale Piazza Castello - Palosco Venerdì 23 novembre 2018 ore 20.30 Mostra Piazza Castello - Palosco Dal 19 al 23 novembre 2018 ore 9-18 _________________________ Ingresso gratuito Enti promotori del Progetto Coglia Enti aderenti Eventi Colleoneschi Palosco: Feudo di Bartolomeo Colleoni (1460-1475) Palosco, in territorio bergamasco, al confine con quello di Brescia, fu un feudo del Il Colleoni morì il 3 novembre dello stesso 1475. Poco dopo il Comune di Bergamo condottiero Bartolomeo Colleoni (1392/1393-1475), che lo acquisì nell’ambito mandò oratori (una sorta di ambasciatori) a Venezia per chiedere la reintegrazione della formazione di un corpo di beni patrimoniali e feudali che comprese Romano della propria giurisdizione; Calcinate, Mornico, Palosco, Romano, Cologno, di Lombardia, Martinengo, Ghisalba, Malpaga, Cavernago, Palosco, Mornico, Urgnano e gli altri luoghi del Bergamasco chiesero di tornare sotto la giurisdizione Urgnano, Cologno al Serio, posti tutti nella pianura orientale bergamasca, e Solza, diretta di Venezia. Il 2 dicembre Palosco tornò sotto il diretto dominio della situata però nell’Isola Brembana. Serenissima Repubblica di Venezia, così come Martinengo, Romano, Cologno, Urgnano e Calcinate. Il passaggio venne sancito il 17 dicembre dello stesso 1475 con una Ducale (decreto del doge). Palosco rientrò nella ripartizione amministrativa del territorio detta Quadra di Calcinate. Qualche decennio dopo, quando i Veneti furono sconfitti dai Francesi, nel 1509, Palosco venne nuovamente infeudato, questa volta dal re di Francia al suo generale Carlo d’Amboise, ma questo durò poco per il ritorno dei Veneti.
    [Show full text]
  • Una Pagina Della Vita Di Bartolomeo Colleoni Di Antonio Cornazzano, Nella Copia Conservata Presso La Biblioteca Civica A
    Una pagina della Vita di Bartolomeo Colleoni di Antonio Cornazzano, nella copia conservata presso la Biblioteca Civica A. Mai di Bergamo Insula - Anno II - Numero 2 - 2006 Fabio Luini Pagina 144 Bartolomeo Colleoni torna nell’Isola Fabio Luini BARTOLOMEO COLLEONI TORNA NELL’ISOLA l castello Colleoni di Solza ospita chito e completato da due operazioni • un archivio di documenti collegati da qualche mese un importante piuttosto ambiziose: la creazione di due alle principali opere su Colleoni centro di documentazione dedica- centri studi, l’uno dedicato al territorio che li hanno utilizzati. to al grande condottiero bergama- dell’Isola, l’altro ad una figura Isco. Presentato ad un folto pubblico e ad emblematica non solo per l’Isola (essen- Le opere scansionate sono: importanti autorità locali e regionali lo doci nato), ma per l’intero Quattrocento • La vita di Bartolomeo Colleoni, di scorso ottobre, si tratta di un prodotto europeo: Bartolomeo Colleoni. Bortolo Belotti; informatico innovativo e originale che • Studi colleoneschi, di Bortolo mette in connessione fonti librarie, fonti In quasi tre anni di lavoro, ora possia- Belotti; documentarie e immagini, col risultato mo dire realizzato il progetto ed è quindi • Vita di Bartolomeo Colleoni, di An- di fornire uno strumento agile e ricco di fruibile un database interrogabile in di- tonio Cornazzano; informazioni. versi modi e su diversi fronti, pronto a Il lavoro, generosamente finanziato fornire informazioni di diverso genere sul • La giovinezza di Bartolomeo Colleoni, dalla Regione Lombardia
    [Show full text]
  • Study of the Quaternary Alloys in the Cast of the Equestrian Statue of Bartolomeo Colleoni by Andrea Del Verrocchio (Venice 1480) Availing of Edxrf Systems
    9th International Conference on NDT of Art, Jerusalem Israel, 25-30 May 2008 For more papers of this publication click: www.ndt.net/search/docs.php3?MainSource=65 STUDY OF THE QUATERNARY ALLOYS IN THE CAST OF THE EQUESTRIAN STATUE OF BARTOLOMEO COLLEONI BY ANDREA DEL VERROCCHIO (VENICE 1480) AVAILING OF EDXRF SYSTEMS Lorenzo Morigi1, Stefano Ridolfi2 1 Giovanni e Lorenzo Morigi Restauratori, Bologna, Italy, E-mail: [email protected] 2 Ars Mensurae, Rome, Italy, E-mail: [email protected] ABSTRACT The Bronze equestrian statue of Bartolomeo Colleoni by Andrea del Verrocchio, cast between 1466 and 1490 by Alessandro Leopardi in Venice, is composed of several parts connected together availing of casts-on. The statue was analysed using a transportable EDXRF system in situ during the restoration of the monument, applied to 21 chosen areas, with the aim of characterising the alloys that compose the different parts of the statue. The areas to be measured were chosen so as to include every sub-section of the statue, therefore every part underwent at least one quantitative analysis. The metal used in the casts-on is a quaternary copper, tin, lead, zinc alloy, while the rest of the sculpture does not contain any trace of zinc, composed as it is of the classic ternary (copper, tin, lead) bronze alloy. Considering the amount of metal required to make the casts-on, the shapes into which they were moulded and, therefore, the economic cost of every single cast-on, the artist’s intention to exploit the strength of the copper alloys containing zinc to obtain sufficiently strong soldering between pairs of different casts is clear.
    [Show full text]
  • Preveza in 1538: the Background of a Very Complex Situation Emmanuelle Pujeau
    Preveza in 1538: The Background of a Very Complex Situation Emmanuelle Pujeau To cite this version: Emmanuelle Pujeau. Preveza in 1538: The Background of a Very Complex Situation. Second Inter- national Symposium or the History and Culture of Preveza, Sep 2009, Preveza, Greece. pp.121-138. hal-00833534 HAL Id: hal-00833534 https://hal.archives-ouvertes.fr/hal-00833534 Submitted on 13 Jun 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Emmanuelle PUJEAU Preveza in 1538: The background of a very complex situation Introduction ETWEEN PREVEZA AND ACTIUM, the Story seems to repeat itself. When the fleet of Mark Antony united with Cleopatra’s forces is defeated by Augustus1 in 31 B.C. off B the Ambracy gulf, the events are seen as a victory of the Occident over the Orient. In this way, when a new campaign is planned in 1537, it is to reaffirm the superiority of the Oc- cident at sea. This point of view considering the Ambracy sector as a determining place could be the proof of its strategic situation for relations between East and West. This quality is ex- pressed in so many discourses of the time which propose itineraries to reconquest the Holy Land, suggesting passing through Preveza or its area.
    [Show full text]
  • Tubatori E Piffari: Civic Wind Players in Medieval and Renaissance Bergamo *
    TOWNE 175 TUBATORI E PIFFARI: CIVIC WIND PLAYERS IN MEDIEVAL AND RENAISSANCE BERGAMO * Gary Towne n 5 February 1331, the councils of the commune and the people of Bergamo convened “in the usual way, to the sounds of bells and the voices of heralds,” for O formal submission to King John of Bohemia.1 This event marked the end of the city’s self-government as an independent commune. Yet old customs survived, and subsequent meetings for organization of defense were “convened by trumpets and bells.”2 This fi rst documentation of Bergamo’s civic musicians prefaces the city’s earliest complete surviving set of statutes (1331), but it suggests that city heralds playing the trumpet had fulfi lled an important public role since the unremembered past. Bergamo is a city of great antiquity. It stands about thirty-fi ve miles northeast of Mi- lan, on the last rocky ridge where the foothills of the Alps descend to the Lombard plain. Settlement began as early as 1200 BC and in the sixth century the town was occupied by the Etruscans and then the Gauls, who gave the city its original name Bérghem, latinized as Bergomum when Rome took the city in 196 BC.3 The city received Roman citizenship from Julius Caesar in 49 BC and thrived under the empire until sacked by the Goths, Huns, Vandals, and Alans in the fi fth century. In the next three centuries, the city was controlled by the Goths and the Lombards; then under the Franks it became a part of the Holy Roman Empire.
    [Show full text]