BERNARDINO LUINI Maria Teresa Binaghi Olivari This New

Total Page：16

File Type：pdf, Size：1020Kb

5 Continents Editions srl Piazza Caiazzo, 1 20124 Milan T. +39 02 33603276 [email protected] BERNARDINO LUINI Maria Teresa Binaghi Olivari This new monograph on Bernardino Luini rewrites much of the life and career of the Lombard artist on the basis of the latest research. The painter’s work is modelled on Leonardo’s paintings and develops as a permanent dia- logue with his peers Gaudenzio Ferrari, Cristoforo Solari, and Giovan Angelo del Maino. New attributions are suggested and other works hitherto attributed to Luini that have not been identified in contemporary sources have in turn been removed from the catalogue. Now that his oeuvre has been reliably reconstituted, Bernardino Luini is revealed as one of the most important and most popular painters in Milan, at least in the ten years between 1516 and 1525. Luini enjoyed the patronage of members of the highest Francophile aristoc- racy. When Charles V seized power in the Duchy of Milan and the Spanish began their exten- sive purges, many of Luini’s protectors disappeared and the painter himself faded into a sort of oblivion. Unchallenged masterpieces by Luini are now to be found in the major museums of the world, including the Louvre, the National Gallery of Art in Washington, DC, and the Kunsthistorisches Museum in Vienna. Most of the artist’s works are still located in Lombardy (in the Cathedral of Como, the shrine of Beata Vergine dei Miracoli in Saronno, the Church of 17 x 24 cm, 116 pp. San Magno in Legnano, and the parish church of Maggianico, Lecco). The monastery of San 48 colour and 8 b/w illustrations Maurizio Maggiore, in Milan, boasts one of the most complete fresco cycles of the sixteenth softcover Italian edition century. Luini also obtained commissions outside Italy, notably in the Church of Santa Maria ISBN 978-88-7439-095-3 degli Angeli, in Lugano, which contains his famous fresco of the Crucifixion. €16.95 Maria Teresa Binaghi Olivari worked for the Milan office of the Ministry of Cultural Heritage for many years. She has contributed to the discovery of several important Renaissance works in Lombardy, including frescoes by Bramantino and wooden sculptures by Giovan Angelo del Maino..

Copy Link

Recommended publications

Destructive Pigment Characterization
Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle.
[Show full text]
Wliery Lt News Release Fourth Street at Constitution Avenue Nw Washington Dc 20565 • 737-4215/842-6353
TI ATE WLIERY LT NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215/842-6353 PRESS PREVIEW AUGUST 9, 1984 10:00 A.M. - 1:00 P.M. FOR IMMEDIATE RELEASE RENAISSANCE DRAWINGS FROM THE AMBROSIANA AT NATIONAL GALLERY OF ART WASHINGTON, D.C. JULY 27, 1984. The Biblioteca Ambrosiana in Milan, one of Europe's most prestigious research libraries, houses an impressive collection of manuscripts, printed books, and drawings. From the approximately 12,000 drawings in the Ambrosiana collection, eighty-seven sheets from the late fourteenth to early seventeenth centuries will go on view in the National Gallery of Art's West Building beginning August 12, 1984 and running through October 7, 1984. The Ambrosiana collection contains some of the finest works of North Italian draftsmanship. Until recently, these drawings (with the exception of those of the Venetian School) have received little attention from scholars outside Italy. This exhibition brings to the United States for the first time works from the Biblioteca Ambrosiana by prominent artists of the North Italian Schools as well as by major artists of the Renaissance in Italy and Northern Europe. The show includes works by Pisanello, Leonardo, Giulio Romano, Vasari, Durer, Barocci, Bans Holbein the Elder and Pieter Bruegel the Elder. Some of the earliest drawings in the exhibition are by the masters of the International Gothic Style. Several drawings by the prolific (MORE) RENAISSANCE DRAWINGS FRCM THE AMBROSIANA -2. draftsman, Pisanello, appear in the shew. Figures in elegant and fashionable costumes are depicted in his Eleven Men in Contemporary Dress.
[Show full text]
The Pear-Shaped Salvator Mundi Things Have Gone Very Badly Pear-Shaped for the Louvre Abu Dhabi Salvator Mundi
AiA Art News-service The pear-shaped Salvator Mundi Things have gone very badly pear-shaped for the Louvre Abu Dhabi Salvator Mundi. It took thirteen years to discover from whom and where the now much-restored painting had been bought in 2005. And it has now taken a full year for admission to emerge that the most expensive painting in the world dare not show its face; that this painting has been in hiding since sold at Christie’s, New York, on 15 November 2017 for $450 million. Further, key supporters of the picture are now falling out and moves may be afoot to condemn the restoration in order to protect the controversial Leonardo ascription. Above, Fig. 1: the Salvator Mundi in 2008 when part-restored and about to be taken by one of the dealer-owners, Robert Simon (featured) to the National Gallery, London, for a confidential viewing by a select group of Leonardo experts. Above, Fig. 2: The Salvator Mundi, as it appeared when sold at Christie’s, New York, on 15 November 2017. THE SECOND SALVATOR MUNDI MYSTERY The New York arts blogger Lee Rosenbaum (aka CultureGrrl) has performed great service by “Joining the many reporters who have tried to learn about the painting’s current status”. Rosenbaum lodged a pile of awkwardly direct inquiries; gained a remarkably frank and detailed response from the Salvator Mundi’s restorer, Dianne Dwyer Modestini; and drew a thunderous collection of non-disclosures from everyone else. A full year after the most expensive painting in the world was sold, no one will say where it has been/is or when, if ever, it might next be seen.
[Show full text]
Leonardo Da Vinci’ of Milan
SISSA – International School for Advanced Studies Journal of Science Communication ISSN 1824 – 2049 http://jcom.sissa.it/ Comment SCIENCE CENTRES AROUND THE WORLD SEE UNREST FOR ART AND SCIENCE IN SOCIETY Arts and science under the sign of Leonardo. The case of the National Museum of Science and Technology ‘Leonardo da Vinci’ of Milan Claudio Giorgione ABSTRACT: Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation. When Guido Ucelli, a Milanese industrialist and the founder of the Museum in 1953, launched the strategic development plan for this Institution, he had a very clear vision from the outset: a modern Museum of Science that could overcome the traditional division between scientific knowledge and humanistic culture and that should have been able to let Arts and Science dialogue, live together and complement each other. This is why the figure of Leonardo was and is still today an evident case of merger of different knowledge, immediately become the leading theme of the Museum. The Gallery exhibiting the models of the machines built in 1953 based on the interpretation of his designs displays real artistic handicraft items, not only technical-didactic creations.
[Show full text]
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]
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]
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]
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]
Scuola Circle 芬奇与他的艺术群体
31.5 — 25.8.2019 Venezia, Fondazione Ugo e Olga Levi 芬奇与他的艺术群体 E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE 31.5 — 25.8.2019 Venezia, Fondazione Ugo e Olga Levi 芬奇与他的艺术群体 E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE A cura di | Curator | 展览策展人 Nicola Barbatelli 尼古拉·巴尔巴泰利 Nota introduttiva di | Introduced by | 序言 Giovanna Nepi Scirè 乔凡娜·内皮·希雷 LEONARDO LEONARDO E LA SUA GRANDE SCUOLA AND HIS OUTSTANDING CIRCLE Palazzo Giustinian Lolin ospita fino al 25 agosto 2019 un importante tributo al genio Palazzo Giustinian Lolin hosts until 25 August 2019 an important tribute to the genius of di Leonardo Da Vinci, in occasione delle celebrazioni del cinquecentenario dalla Leonardo Da Vinci, on the occasion of the celebrations marking the 500th anniversary of scomparsa: la mostra “Leonardo e la sua grande scuola”, a cura di Nicola Barbatelli. Leonardo da Vinci’s death: the exhibition “Leonardo and His Outstanding Circle”, curated by Con 25 opere esposte – di cui due disegni attribuiti al genio toscano – il progetto pone Nicola Barbatelli. Proposing a collection of 25 works — among which two drawings attributed l’accento non solo sull’opera del grande Maestro, ma soprattutto sulle straordinarie to the Tuscan genius —, this project does not merely focus on the work of the great master, pitture dei suoi seguaci – tra cui Giampietrino, Marco d’Oggiono, Cesare da Sesto, but above all on the extraordinary paintings of his followers — including Giampietrino, Marco Salaì, Bernardino Luini – e il loro dialogo con la poetica artistica di Leonardo. d’Oggiono, Cesare da Sesto, Salaì, Bernardino Luini — and their dialogue with Leonardo’s artistic poetics.
[Show full text]
A Study of the Soul in Recent Poetics
ROSE OF T!jE WORLD A STUDY OF THE SOUL IN A RECENT POETICS Jchn William Scoggan B.Sc. Carleton University, Ottawa, 1968 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the Department of E.nglish @ JOHN WILLIAM SCOGGAN 1973 SIMON FRASER UNIVERSITY July, 1973 VOLUME I APPROVAL Name : John Scoggan Degree: Master of Arts Title of Thesis: Charles Olson's Imago Mundi Eramini ng Committee: Chairman: Dr. S .A. Black ~ar~hMaud Senior Supervisor Robin Blaser Evan Alderson Arthur Stone Assistant Professor Department of Mathematics Simon Fraser University Date Approved: July 25, 1972 PARTIAL COPYRIGHT LICENSE f hereby grant to Simon Fraser University the right to lend my thesis or dissertation (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behaif or for cne nf its users. I further agree that permission for multiple copying of this thesis for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Title of ~hesis /~issertation : Rose of the World: a study of the soul in a recent poetics Author- : John William Scoggan (name ) December 11, 1973 ABSTRACT This thesis is about the Gold Flower which has always stood for the sources of the human soul.
[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]