The National Gallery Immunity from Seizure
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• Discover the World of Renaissance Patronage & the Ruling Visconti and Sforza Dynasties • We Explore the Great Collec
Discover the world of Renaissance patronage & the ruling Visconti and Sforza dynasties We explore the great collections of important Milanese families from the sixteenth to the twentieth centuries Superbly located hotels in both Milan and Cremona Visit the splendid, undiscovered city of Cremona, with its age-old craft of instrument-making explored, with private recitals Leonardo da Vinci, The Last Supper Milan and Cremona could not be more different in scale and ambience – Milan is the centre of Italy’s mercantile and banking traditions; Cremona is an oasis of musical endeavour, devoted to the finest traditions of craftsmanship. They offer a remarkable juxtaposition in terms of their physical scale and cultural history and are the two most interesting cities in Lombardy. Under the Romans Milan became a major settlement at the centre of a vital road network, eventually capital of the Western Roman Empire and an important Christian centre under St Ambrose. Thereafter, Lombardy, as it came to be known, was occupied by many of the German and other tribes who crossed over the Alps. As the outline of Medieval Italy emerged, Milan became an independent Duchy under the feudal control of the new, Holy Roman Empire, an entity dominated by mostly German dynasties. Cremona’s early history was chequered. Destroyed both by the Romans and Lombards it was later revived as a free commune. Though it fought against its Milanese neighbours, it eventually became a part of the Duchy of Milan, after which it enjoyed several centuries of prosperity. Meanwhile the Visconti Dukes of Milan dominated local affairs and became major patrons of the arts, creating a court of unrivalled wealth and beauty. -
Caterina Corner in Venetian History and Iconography Holly Hurlburt
Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol. -
36. Allestimento Della Pietà Rondanini Nel Museo Del Castello Sforzesco a Milano
Gruppo BBPR (Gian Luigi Banfi, Ludovico Barbiano di Belgiojoso, Enrico Peressutti, Ernesto Nathan Rogers) 36. Allestimento della Pietà Rondanini nel Museo del Castello Sforzesco a Milano a. Paolo Monti (Novara, 1908 - Milano, 1982) L’allestimento della Pietà Rondanini dello Studio BBPR nella sala degli Scarioni del Museo del Castello Sforzesco a Milano - sala XV 1956 fotografia, 240 × 180 mm Milano, collezione Alberico di Belgiojoso, foto n. 188 b. Paolo Monti L’allestimento della Pietà Rondanini dello Studio BBPR nella sala degli Scarioni del Museo del Castello Sforzesco a Milano – sala XV 1956 fotografia, 300 × 210 mm Milano, collezione Alberico di Belgiojoso, foto n. 243 c. Studio BBPR Progetto di allestimento. Vista assonometrica ante 1956 riproduzione fotografica del disegno, 220 × 165 mm Milano, collezione Alberico di Belgiojoso d. Studio BBPR Progetto di allestimento. Pianta e sezione ante 1956 riproduzione fotografica del disegno, 250 × 345 mm Milano, collezione Alberico di Belgiojoso Fu Riccardo Bacchelli a scrivere nel 1952 il testo ufficiale di benvenuto per It was Riccardo Bacchelli who wrote in 1952 the official welcome address for la Pietà Rondanini che, dalla collezione romana della famiglia dei conti Sanse- the Pietà Rondanini that arrived in Milan from the Roman collection of the verino Vimercati, giungeva a Milano per trovare poi sistemazione nel Museo family of the counts Sanseverino Vimercati to then find a home at the Museo del Castello Sforzesco. Il testo era incentrato sul valore della scultura ma anche del Castello Sforzesco. The address focused on the sculpture’s value but also sull’importanza di accogliere una così importante opera per una città come Mi- on the importance for a city like Milan – which had emerged from the ruins lano, uscita dalle rovine della guerra e avviata a un’opera di ricostruzione non of war and set out on a project of reconstruction regarding not only the city’s solo edilizia ma anche economica e culturale. -
Paper7 Frommel, Gaiani, Apollonio & Bertacchi Some Reconstruction
SCIentific RESearch and Information Technology Ricerca Scientifica e Tecnologie dell'Informazione Vol 10, Issue 1 (2020), 53-66 e-ISSN 2239-4303, DOI 10.2423/i22394303v10n1p53 Open access article licensed under CC-BY-NC-ND CASPUR-CIBER Publishing, http://www.sciresit.it SOME RECONSTRUCTION HYPOTHESES OF LEONARDO’S PROJECT FOR THE TIBURIO OF THE MILAN CATHEDRAL BY USING 3D DIGITAL MODELS Sabine Frommel*, Fabrizio Ivan Apollonio**, Marco Gaiani**, Gianna Bertacchi** *École Pratique des Hautes Études, Sorbonne - Paris, France **Department of Architecture, Alma Mater Studiorum University of Bologna - Bologna, Italy. Abstract This paper analyses possible interpretations of the unbuilt Leonardo's project for the tiburio of the Milan cathedral, depicted in two sheets of the Codex Atlanticus, using digital tools, mainly 3D modelling techniques. Starting from existing studies and hypothetical reconstructions of Leonardo’s project, exploiting only analogue methods (i.e. 2D drawing techniques), new in- depth analyses are presented. In detail the use of 3D modelling allows a systematic analysis of the possible solutions for the ability to easily reconstruct the plan of each solution investigated starting from the section represented by Leonardo in the Codex Atlanticus. Results lead to multiple interpretative solutions of this complex architecture. Keywords Leonardo da Vinci, Tiburio, Cathedral, Milan, Unbuilt architecture, Virtual reconstruction, 3D modeling. 1. Introduction these two sheets. The information that several other sketches provide regarding this project is The present contribution analyses some also limited. possible reconstructions of Leonardo’s project for Even if these sketches tell us that Leonardo, the tiburio of the Milan cathedral using digital during his entire life, carried out in-depth studies tools, mainly 3D modelling techniques. -
Carta Dei Servizi Del Museo Pinacoteca Accademia Carrara
CARTA DEI SERVIZI DEL MUSEO PINACOTECA ACCADEMIA CARRARA PREMESSA La Carta dei servizi, costituisce lo strumento attraverso cui il Museo comunica con i suoi visitatori e si confronta con essi. Essa individua i servizi che la Fondazione s’impegna a erogare sulla base del Regolamento del Museo, delle norme vigenti e nel rispetto delle esigenze e delle aspettative dei fruitori, la cui soddisfazione costituisce un obiettivo primario. La Carta della qualità dei servizi risponde dunque all’esigenza di fissare principi e regole nel rapporto tra chi eroga i servizi e i cittadini che ne usufruiscono. Essa costituisce un vero e proprio “patto” con i fruitori, uno strumento di comunicazione e di informazione che permette loro di conoscere i servizi offerti, le modalità e gli standard promessi, di verificare che gli impegni assunti siano rispettati, di esprimere le proprie valutazioni anche attraverso forme di reclamo. L’adozione della Carta dei servizi è una delle iniziative volte a promuovere una più ampia valorizzazione del patrimonio culturale conservato nella Pinacoteca Accademia Carrara e ad adeguare per quanto possibile, in armonia con le esigenze della tutela e della ricerca, l’organizzazione delle attività alle aspettative degli utenti. La Carta sarà aggiornata con cadenza biennale per consolidare i livelli di qualità raggiunti e registrare i cambiamenti positivi intervenuti attraverso la realizzazione di progetti di miglioramento, che possono scaturire anche dal monitoraggio periodico dell’opinione degli utenti. Tale aggiornamento, a cura della Direzione della Fondazione e previa approvazione del CDA, avverrà comunque in caso di: • Modifica della normativa sugli standard dei servizi museali; • Nuove esigenze di servizio; • Suggerimenti e osservazioni degli utenti riconosciute di particolare peso. -
Press Release
FRICK TO PRESENT FIRST MAJOR NORTH AMERICAN EXHIBITION ON RENAISSANCE PAINTER GIOVANNI BATTISTA MORONI MORONI: THE RICHES OF RENAISSANCE PORTRAITURE February 21 through June 2, 2019 In Renaissance Italy, one of the aims of portraiture was to make the absent seem present through naturalistic representation of the sitter. This notion—that art can capture an individual exactly as he or she appears—is exemplified in the work of Giovanni Battista Moroni. The artist spent his entire career in and around his native Bergamo, a region in Lombardy northeast of Milan, and left a corpus of portraits that far outnumbers those of his contemporaries who worked in major artistic centers, including Titian in Venice and Bronzino in Florence. Though Moroni never achieved their fame, he innovated the genre of portraiture in spectacular ways. This winter and spring, Giovanni Battista Moroni (b. 1520–24; d. 1579/80), Portrait of a Young Woman, ca. 1575, oil on canvas, private collection; photo: the Frick presents the first major exhibition in North Michael Bodycomb America devoted to his work, bringing together nearly two dozen of Moroni’s most arresting and best known portraits from international collections to explore the innovations and experiments that belie his masterful illusion of recording reality. They will be shown alongside a selection of complementary objects— Renaissance jewelry, textiles, arms and armor, and other luxury items—that exemplify the material and visual world that Moroni recorded, embellished, and transformed. Moroni: Moroni, Giovanni Gerolamo Grumelli, called The Man in Pink, dated 1560, oil on canvas, Fondazione Museo di Palazzo Moroni, Bergamo–Lucretia The Riches of Renaissance Portraiture was organized by Aimee Ng, Associate Curator, Moroni Collection; photo: Mauro Magliani 1 The Frick Collection; Simone Facchinetti, Researcher, Università del Salento, Lecce; and Arturo Galansino, Director General, Palazzo Strozzi, Florence. -
The National Gallery Immunity from Seizure
THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Lorenzo Lotto Portraits 05 Nov 2018 - 10 Feb 2019 The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Lorenzo Lotto Portraits 05 Nov 2018 - 10 Feb 2019 The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Lorenzo Lotto Portraits. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Lorenzo Lotto Portraits 05 Nov 2018 - 10 Feb 2019 Protection under the Act is sought for the objects listed below: Lorenzo Lotto (about 1480 - 1556/7) © Gemäldegalerie, Staatliche Museen zu Berlin, Preußischer Kulturbesitz / Photo: Jörg P. Anders X9438 Portrait of an Architect c. 1536 Place of manufacture: Venice Oil on canvas Object dimensions: 105 × 82 cm Gemäldegalerie, Staatliche Museen zu Berlin Lender's name and address Gemäldegalerie Gemäldegalerie Matthäikirchplatz 10785 Berlin Germany Provenance: Part of the Giustiniani Collection acquired by Prussian King Friedrich Wilhelm III, 1815. -
Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012. -
Musei Dimilano
iMusei di Milano Museums of Milan Musées de Milan Museos de Milán Milano è una città che sorprende per la ricchezza Musei Musei civici dell’offerta culturale. Museums Civic Museums Musées Musées municipaux Una ricchezza capace di incontrare e soddisfare Museos Museos cívicos le esigenze di chiunque ami la cultura, l’arte e la bellezza. 美術館 市民美術館 La guida che avete tra le mani, realizzata in più lingue, vuole essere una bussola per orientare tutti quelli che vorranno “perdersi” nelle sale dei tanti musei cittadini che Case Museo Case Museo civiche permettono di spaziare attraverso l’archeologia, l’arte, House Museums Public House Museums la multiculturalità, la fotografia, il cinema, la storia, Bâtiments Musée Bâtiments Musée Civiques la scienza, la tecnica, la moda e il design. Casas Museo Casas Cívicas Museo Un sistema, quello dei musei milanesi, costituito da un ハウスミュージアム 市立 ハウスミュージアム insieme estremamente diversificato di luoghi e siti di grande valore artistico e storico. Si tratta di musei civici e spazi gestiti dall'Amministrazione Spazi espositivi Spazi espositivi civici Exhibition venues Civic exhibition venues comunale, oppure da Enti publici, Fondazioni e soggetti Espaces d’exposition Espaces d’exposition municipaux privati che insieme costituiscono un’offerta culturale Espacios expositivos Espacios expositivos cívicos ampia e articolata. 展示 スペース 市民展示 スペース Un patrimonio comune che vuole essere sempre più diffuso ed accessibile. 1 Ubicazione in piantina / Position on plan / Emplacement sur le plan / Ubicación en el plano / Parziale ingresso disabili / Partial entrance for physically disabled / Milan is a city that surprises for the wealth of its cultural Entrée partielle pour handicapés / Ingreso parcial para minusválidos / offer. -
Colora Il Castello
Un viaggio con Ludovico e i suoi amici alla scoperta delle collezioni del Castello Sforzesco! Per bambini da 5 a 8 anni Se vuoi vedere i colori originali delle opere vieni a trovarci in museo oppure visitalo virtualmente su Google Arts&Culture! https:// artsandculture.google.com/partner/castello-sforzesco Oppure puoi inquadrare questo codice qr: Divertiti a colorare la Torre Umberto I, detta Torre del Filarete, e il Torrione del Carmine. Divertiti a colorare lo stemma di Francesco Sforza, dove trovi il biscione dei Visconti e l’aquila imperiale. Divertiti a colorare la Pietà Rondanini, ultima opera di Michelangelo, che trovi nell'Ospedale Spagnolo. Divertiti a colorare la Torre di Bona e la riproduzione del pergolato di Leonardo da Vinci. Divertiti a colorare Leonardo da Vinci, che al Castello Sforzesco ha dipinto la Sala delle Asse. Divertiti a colorare questo particolare della Sala delle Asse, dipinta da Leonardo da Vinci. Divertiti a colorare il Torrione di Santo Spirito visto dal Cortile delle Armi. Divertiti a colorare la statua del Faraone Amenemhat III, che trovi nella Sezione Egizia del Museo Archeologico. Colora la situla di Trezzo sull’Adda, che trovi nella Sezione Preistoria e Protostoria del Museo Archeologico. Divertiti a colorare la Corte Ducale del Castello Sforzesco, su cui affacciano le sale del Museo d’Arte Antica. Colora il monumento a Bernabò Visconti di Bonino da Campione , che trovi nel Museo d’Arte Antica in sala II. Completa e colora il dipinto «Madonna Lia» di Francesco Napoletano, che trovi nel Museo d’Arte Antica in sala XII. Colora la Libreria Casablanca di Ettore Sottsass, che trovi nel Museo dei Mobili e Sculture Lignee in sala XVI. -
Sp0 Relazione
P G T COMUNE DI BERGAMO R G A E M AREA POLITICHE DEL TERRITORIO B O P iano di DIREZIONE PIANIFICAZIONE URBANISTICA UFFICIO PIANO DI GOVERNO DEL TERRITORIO Governo del C E I L T L T I erritorio M T A ' D E I COORDINAMENTO UFFICIO PGT ARCH. GIORGIO CAVAGNIS TEAM DI PROGETTAZIONE ARCH. GIORGIO CAVAGNIS ARCH. GIANLUCA DELLA MEA ARCH. MARINA ZAMBIANCHI RESPONSABILE SCIENTIFICO PROF. ARCH. BRUNO GABRIELLI CONSULENZA ARCHITETTONICA PROF. ARCH. AURELIO GALFETTI UFFICIO PGT ARCH. SILVIA PERGAMI ARCH. ALESSANDRO SANTORO DOTT. SERGIO APPIANI DOTT. ANDREA CALDIROLI DOTT. RAFFAELE PICARIELLO DOTT. LARA ZANGA con DOTT. SILVIA CIVIDINI CONSULENZA ASPETTI AMBIENTALI E PAESISTICI E VAS ARCH. MARGHERITA FIORINA CONSULENZA ASPETTI GEOLOGICI E IDROGEOLOGICI DOTT. GEOL. RENATO CALDARELLI DOTT. GEOL. MASSIMO ELITROPI CONSULENZA ASPETTI LEGALI AVV. FORTUNATO PAGANO AVV. PAOLO BONOMI SIT (SISTEMA INFORMATIVO TERRITORIALE) Modificato e approvato con atto di rettifica non comportante variante (art 13 c.14bis della L.R. 12/05 e s.m.i.): - ARPGT00 (Del. C.C. n. 6 Reg./60-2010 Prop. Del. in data 24/01/2011) - ARPGT01 (Del. C.C. n. 146 Reg./46-2011 Prop. Del. in data 19/07/2011) - ARPGT02 (Del. C.C. n. 99 Reg./25-2011 Prop. Del. in data 30/05/2011) AGGIORNATO AL 21.09.2011 Pubblicato su Bollettino Ufficiale Regione Lombardia n. 38 in data 21/09/2011. S T U D I D I S E T T O R E S T U D I O P A E S I S T I C O D I D E T T A G L I O ( a i s e n s i d e l l ' a r t . -
Abbazie Testo Ing
THE PRECIOUS JEWELS OF THE MONASTIC ORDERS ANCIENT ABBEYS IN THE LOWLAND OF MILAN Among these monasteries we like to present the Cistercian centers of Chiaravalle and Morimondo, and those of Viboldone and Mirasole founded by the religious order of Humiliati. We must not forget that, in the past, in the vicinity of Chiaravalle and Viboldone, the navigable channel Vettabbia, dating back to Roman times, was an important means of transport of goods towards the Lombard capital, thus connected with the river Lambro, the Po and with Comacchio. ABBAZIA DI CHIARAVALLE The Cistercian A b b ey of Santa Maria di Chiaravalle, was founded in Lombardy, already home to numerous Benedictine monasteries, in 1035, thanks to the generosity of the Milanese population. It is the work of the n o ble Burgundian San Bernardo (1090 - 1153), abbot of Clarivaux and charismatic leader of the yo u n g Cistercian religious order, an important branch of the great Benedictine fa m i ly. Like the nearby abbey of Morimondo, the church and the adjoining monastery of Chiaravalle were built according to the tradition of the Cistercians, exploiting the typical local bricks. The abbey, erected near the Roman road towards the river Po , brought prosperity and importance to the economy throughout the area, thanks to the work of reclamation of the monks and the consequent flourishing of fa r ming and agriculture. The imposing elegant towe r, which still stands with its conical spire on the green countryside of Milan, was a symbol of reference for all the surrounding areas and a sign of the undisputed power of the monastery and the religious order.