Percorso Artistico-Botanico Tra Pinacoteca E Orto Botanico Di Brera

Total Page:16

File Type:pdf, Size:1020Kb

Percorso Artistico-Botanico Tra Pinacoteca E Orto Botanico Di Brera Aboca è leader La Pinacoteca di Brera, L’Orto Botanico di Brera nell’innovazione museo di statura dell’Università degli Studi percorso artistico-botanico terapeutica a base internazionale, nacque di Milano, istituito tra Pinacoteca e Orto Botanico di Brera di complessi molecolari a fanco dell’Accademia nel 1774 con fnalità naturali, sviluppa e realizza di Belle Arti, voluta didattico-scientifche 3 Luglio - 31 Ottobre 2015 prodotti innovativi effcaci da Maria Teresa d’Austria per gli studenti di medicina ORARI e sicuri per la salute nel 1776, con fnalità e farmacia da Maria Teresa Pinacoteca di Brera e il benessere delle persone. didattiche. Espone oggi d’Austria, è un giardino martedì - domenica: 8.30 - 19.15 Aboca crede fortemente una delle più celebri storico situato all’interno Chiuso: tutti i lunedì in un nuovo modo raccolte in Italia di pittura, di Palazzo Brera, Orto Botanico di Brera di curare basato su una specializzata in pittura un’incantevole e suggestiva dell’Università degli Studi di Milano medicina consapevole dei veneta e lombarda, isola verde dedicata lunedì - sabato non festivi: 10 - 17 meccanismi fsiopatologici con importanti pezzi alla ricerca e alla didattica, Chiusure: tutte le domeniche e dal 17 al 23 agosto dell’organismo, che ricerca di altre scuole. nel pieno centro di Milano. Aperture straordinarie: 5 luglio, 30 agosto, 27 settembre e trova nella complessità Custodisce capolavori Splendido museo all’aperto, della natura le risposte assoluti del Novecento l’Orto Botanico oggi La natura costituisce da sempre una fonte privilegiata di ispirazione più adatte alla richiesta ed è da considerare è un luogo ideale percorso artistico-botanico aula didattica aula per gli artisti, ciascuno dei quali l’ha interpretata secondo la propria di salute di oggi e di uno dei maggiori musei per imparare a conoscere ingresso tra Pinacoteca Orto cultura e sensibilità. domani. Opera da 40 anni statali italiani. le piante, scoprendo Botanico e Orto Botanico di Brera con una fliera totalmente www.brera.beniculturali.it uno spettacolo diverso specola Visitare un importante museo come la Pinacoteca di Brera, verticalizzata, dalle in ogni stagione. Orto Botanico Via Gabba 3 Luglio - 31 Ottobre 2015 focalizzando l’attenzione sul mondo vegetale rappresentato coltivazioni al prodotto www.brera.unimi.it Cortile Pesa nei dipinti e ritrovare poi le stesse piante all’interno dell’Orto Botanico, fnito e distribuisce i propri Cortile della Magnolia offre inedite e affascinanti scoperte. prodotti solo nei canali Osservatorio professionali della salute, BIBLIOTECA BRAIDENSE biblioteca VIII dell’Accademia VII 8 Un percorso unico tra arte e natura che ricalca il passaggio di Belle in 14 paesi nel mondo. 7 Arti dalla rappresentazione alla realtà e ci porta a interrogarci sul rapporto Cortile XI www.aboca.com verdure di orto Esportazioni IX 11 tra natura e cultura, tra l’uomo e il suo ambiente. 9 VI 6 IA II III IV V IA 2 3 4 5 La valenza culturale e simbolica raggiunge il suo apice quando I XIV X I 14 10 si parla di piante medicinali, per millenni unico rimedio ai nostri XIX SERRA EX Via Fiori Oscuri 19 problemi di salute, sospese tra magia e scienza, da sempre nostre XII XXXVIII compagne nell’evoluzione. XV 12 38 XVIII 15 18 Testi a cura di Fabrizio Zara, responsabile Ricerca Botanica Aboca XIII XXXVII 13 e Veronica Pandiani, storica dell’arte ed educatrice museale 37 XX Da qui nasce il percorso artistico e botanico Arte Horto, voluto 20 Supervisione scientifca di Emanuela Daffra e Paola Strada (Pinacoteca di Brera) XXXV XXXVI XXI da Aboca in collaborazione con la Pinacoteca e l’Orto Botanico di Brera, 35 36 21 e di Elisabetta Caporali e Cristina Puricelli (Orto Botanico di Brera dell’Università degli Studi di Milano) Piazzetta per riscoprire da dove veniamo e attraverso la bellezza di opere XXXIV XXII 34 22 di Brera e piante tornare a sentire l’intimo legame tra uomo e natura. Composizione e impaginazione: Uffcio Grafco Aboca S.p.A. Società Agricola XXXIII 33 XXXI XXX XXIX XXVIII XXVII XXIV XXIII XXXII 31 30 29 28 27 24 23 Tutti i diritti sono riservati. Riproduzioni anche parziali sotto qualsiasi forma sono vietate senza autorizzazione dell’Editore 32 Massimo Mercati Direttore Generale Aboca Foto: Massimo Gardone, Azimut e Thinkstock Via Brera Immagini delle opere d’arte su concessione del Ministero dei Beni e delle Attività Culturali e del Turismo - Pinacoteca di Brera ingresso Pinacoteca Copyright ©2015 Aboca Edizioni © Aboca S.p.A. Società Agricola Stampa www.aboca.com ARTORTOPU-B Il percorso artistico-botanico Arte Horto è visitabile Il percorso artistico-botanico Arte Horto partendo dalla Pinacoteca o dall’Orto Botanico di Brera è visitabile partendo dall’Orto Botanico di Brera VIII VII 8 7 entrata XI 11 IX 9 VI 6 PALAZZO BRERA IA II III IV V IA 2 3 4 5 inizio 8 percorso 4 artistico X orto di verdure I XIV 5 10 1 6 I 14 EX SERRA 15 12 specola XIX 19 XII XXXVIII XV 12 17 38 XVIII 15 16 18 XIII 13 vasca XXXVII 13 37 11 10 XX 14 9 20 3 XXXV XXXVI XXI 35 36 21 2 7 aula didattica XXXIV XXII 34 22 XXXIII 33 XXXI XXX XXIX XXVIII XXVII XXIV XXIII entrata XXXII 31 30 29 28 27 24 23 32 SALA VI Disputa di Santo Stefano fra i Dottori nel Sinedrio, Vittore Carpaccio PIANTA 1 Borragine - Borago offcinalis L. VII Pietà, Giovanni Bellini 2 Marruca - Paliurus spina-christi Mill. IX San Gerolamo penitente, Tiziano Vecellio 3 Edera - Hedera helix L. XIV Resurrezione di Cristo tra i Santi Gerolamo, Giovanni Battista e due offerenti, Cariani (Giovanni Busi) 4 Olivo - Olea europaea L. XVIII Venere e Cupido con due satiri in un paesaggio, Simone Peterzano 5 Melograno - Punica granatum L. XVIII Fruttivendola, Vincenzo Campi 6 Gelso nero - Morus nigra L. XVIII Madonna col Bambino con i Santi Mattia, Antonio da Padova, il beato Alberto di Villa d’Ogna, Giulio Campi 7 Biancospino - Crataegus monogyna Jacq. XIX Madonna col Bambino (Madonna del Roseto), Bernardino Luini 8 Rosa - Rosa ×damascena Mill. XIX Ritratto di giovane, Giovanni Antonio Boltraffo 9 Alloro - Laurus nobilis L. XIX Lo scherno di Cam, Bernardino Luini 10 Vite - Vitis vinifera L. XXI Madonna della Candeletta, Carlo Crivelli 11 Pero - Pyrus communis L. XXII San Sebastiano, Dosso Dossi (Giovanni di Niccolò Luteri) 12 Arancio - Citrus sinensis (L.) Osbeck XXIV Sposalizio della Vergine, Raffaello Sanzio 13 Oleandro - Nerium oleander L. XXVII La Vergine Annunciata e i Santi Giovanni Battista e Sebastiano, Timoteo Viti 14 Clematide - Clematis vitalba L. XXXVII Ritratto di Giovanni Battista Sommariva, Pierre-Paul Prud’hon 15 Acanto - Acanthus mollis L. XXXVII Fiori nel chiostro, Eugenio Gignous 16 Malvarosa - Alcea rosea L. XXXVIII Pascoli di primavera, Giovanni Segantini 17 Pino mugo - Pinus mugo Turra Sala VI Pianta n. 1 Vittore Carpaccio Borragine Disputa di Santo Stefano fra i Dottori nel Sinedrio Borago offcinalis L. 1514 Il cipresso è l’albero tradizionalmente piantato in prossimità delle tombe come simbolo di lutto e dolore. Forse in questo caso rappresenta il martirio di Santo Stefano. Può anche simboleggiare la Chiesa cristiana difesa da Stefano nel Sinedrio, in quanto il cipresso è una pianta svettante verso l’alto, che congiunge cielo e terra LA RAPPRESENTAZIONE GLI UTILIZZI Vittore Carpaccio nacque a Venezia intorno al La borragine offcinale è una pianta a tratti 1465 e lì operò fno alla morte, avvenuta nel misteriosa: non esiste chiarezza e unità di 1526. I suoi dipinti più famosi sono i cicli di opinione né sull’origine – alcuni autori storie realizzati per le principali confraternite suppongono provenga dalla Siria, altri da aree della città (Scuole). In queste opere, la del Nord Africa – né su alcune delle sue tradizione narrativa veneziana si coniuga con storiche, e presunte, attività psicoterapeutiche. l’attenzione al dettaglio propria dell’arte Se oggi è infatti riconosciuta come una delle famminga, dando vita ad ambientazioni migliori fonti vegetali di acidi grassi essenziali fantastiche. ottenuti dalla spremitura dei semi, in passato La Disputa di Santo Stefano fra i Dottori nel veniva impiegata per una fnalità ormai Sinedrio faceva parte della serie di cinque sconosciuta: curare la malinconia e la tristezza, grandi tele con le storie del santo che ornavano come peraltro testimoniato da Pietro Andrea la sede veneziana della Confraternita dei Mattioli (I Discorsi, 1568). Potrebbe infatti Laneri. costituire l’ingrediente segreto del Nepenthes Carpaccio ambienta la vicenda, che si era svolta omerico, prodigiosa bevanda che portava a Gerusalemme, in uno scenario immaginario all’oblio. con edifci fantastici, in cui molti personaggi Molti autori classici la consideravano in grado sono abbigliati all’orientale. Anche le piante, di rendere l’uomo euforico, come attesta fra le quali molte sono medicinali, vengono l’antico verso Ego borago, Gaudia semper ago. descritte minuziosamente e tra di esse è Castore Durante e lo stesso Mattioli riportano riconoscibile la borragine. L’insolita scelta il suo nome precedente, corragine, per le sue di raffgurare proprio questa pianta dipende mirabili virtù nelle passioni di cuore, o come forse dal fatto che il suo nome si collega al corruzione del latino cor-ago (con signifcato mondo dei produttori e dei commercianti di ”coraggio”) presso i Celti che la impiegavano della lana, che costituivano la maggioranza per dare coraggio ai guerrieri prima della dei confratelli della Scuola di Santo Stefano. battaglia. Borragine deriva infatti dal latino borra, un L’uso terapeutico e alimentare di Borago La borragine potrebbe ricordare il mondo dei lanai: tessuto di lana ruvida, per la peluria che ne offcinalis è attualmente sconsigliato, per la la maggioranza dei confratelli della Scuola di Santo Stefano operava in questo ambito ricopre le foglie. presenza (ad esclusione dei semi) di alcaloidi pirrolizidinici con attività epatotossica.
Recommended publications
  • National Gallery of Art
    National Gallery of Art FOR IMMEDIATE RELEASE PRESS CONTACT: (202) 842-6353 JUNE 20, 1997 Deborah Ziska, Information Officer NATIONAL GALLERY RECEIVES MAJOR DONATIONS FROM HEINEMANN ESTATE AND PATRONS' PERMANENT FUND The National Gallery of Art has received generous donations including three major paintings by Peter Paul Rubens, Giovanni Cariani, and Edgar Degas, plus a fourth painting and a group of drawings by Giovanni Battista Piazzetta from the collection of the late Lore and Rudolf Heinemann. The Gallery has also acquired a major painting by Jacopo da Ponte, called Jacopo Bassano, made possible by the Patrons' Permanent Fund, an endowed fund established for the acquisition of art. In addition to the paintings and drawings, Mrs. Heinemann, who shared her husband's passion for art, left certain assets jointly to the National Gallery of Art and The Pierpont Morgan Library with the request that they be sold at auction and the proceeds used to create the Lore and Rudolf Heinemann Fund for curatorial and scholarly travel and research and conservation of fourteenth- to nineteenth-century paintings and drawings. "These gifts from the Heinemanns and the Patrons' Permanent Fund are outstanding additions to the Gallery's permanent collection and we are extremely pleased to be able to have the public enjoy these works of art by great masters," said -more- Fourth Street at Constitution Avenue, iN.W., Washington, D.C. 2()5t>5 acquisitions...page 2 Earl A. Powell III, director, National Gallery of Art. Included in the Heinemann bequest are an outstanding Renaissance Venetian masterpiece, A Concert, c. 1518-20, by Cariani; a Baroque oil sketch, David and Abigail.
    [Show full text]
  • Sebastiano Del Piombo and His Collaboration with Michelangelo: Distance and Proximity to the Divine in Catholic Reformation Rome
    SEBASTIANO DEL PIOMBO AND HIS COLLABORATION WITH MICHELANGELO: DISTANCE AND PROXIMITY TO THE DIVINE IN CATHOLIC REFORMATION ROME by Marsha Libina A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland April, 2015 © 2015 Marsha Libina All Rights Reserved Abstract This dissertation is structured around seven paintings that mark decisive moments in Sebastiano del Piombo’s Roman career (1511-47) and his collaboration with Michelangelo. Scholarship on Sebastiano’s collaborative works with Michelangelo typically concentrates on the artists’ division of labor and explains the works as a reconciliation of Venetian colorito (coloring) and Tuscan disegno (design). Consequently, discourses of interregional rivalry, center and periphery, and the normativity of the Roman High Renaissance become the overriding terms in which Sebastiano’s work is discussed. What has been overlooked is Sebastiano’s own visual intelligence, his active rather than passive use of Michelangelo’s skills, and the novelty of his works, made in response to reform currents of the early sixteenth century. This study investigates the significance behind Sebastiano’s repeating, slowing down, and narrowing in on the figure of Christ in his Roman works. The dissertation begins by addressing Sebastiano’s use of Michelangelo’s drawings as catalysts for his own inventions, demonstrating his investment in collaboration and strategies of citation as tools for artistic image-making. Focusing on Sebastiano’s reinvention of his partner’s drawings, it then looks at the ways in which the artist engaged with the central debates of the Catholic Reformation – debates on the Church’s mediation of the divine, the role of the individual in the path to personal salvation, and the increasingly problematic distance between the layperson and God.
    [Show full text]
  • The Evolution of Landscape in Venetian Painting, 1475-1525
    THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
    [Show full text]
  • Ritratto Di Giovanni Benedetto Caravaggi
    SIRBeC scheda OARL - C0050-00675 Ritratto di Giovanni Benedetto Caravaggi Busi Giovanni detto Cariani Link risorsa: https://www.lombardiabeniculturali.it/opere-arte/schede/C0050-00675/ Scheda SIRBeC: https://www.lombardiabeniculturali.it/opere-arte/schede-complete/C0050-00675/ SIRBeC scheda OARL - C0050-00675 CODICI Unità operativa: C0050 Numero scheda: 675 Codice scheda: C0050-00675 Visibilità scheda: 3 Utilizzo scheda per diffusione: 03 Tipo scheda: OA Livello ricerca: C CODICE UNIVOCO Codice regione: 03 Numero catalogo generale: 02024500 Ente schedatore: R03/ Accademia Carrara Ente competente: S27 RELAZIONI RELAZIONI CON ALTRI BENI Tipo relazione: è compreso Tipo scheda: COL Codice bene: 03 Codice IDK della scheda correlata: COL-LMD30-0000013 OGGETTO Gruppo oggetti: pittura OGGETTO Definizione: dipinto Disponibiltà del bene: reale SOGGETTO Categoria generale: ritratto Identificazione: Ritratto di Giovanni Benedetto Caravaggi Pagina 2/35 SIRBeC scheda OARL - C0050-00675 LOCALIZZAZIONE GEOGRAFICO-AMMINISTRATIVA LOCALIZZAZIONE GEOGRAFICO-AMMINISTRATIVA ATTUALE Stato: Italia Regione: Lombardia Provincia: BG Nome provincia: Bergamo Codice ISTAT comune: 016024 Comune: Bergamo COLLOCAZIONE SPECIFICA Tipologia: museo Denominazione: Accademia Carrara Denominazione spazio viabilistico: Piazza Giacomo Carrara Denominazione struttura conservativa - livello 1: Accademia Carrara Tipologia struttura conservativa: museo Collocazione originaria: SC ACCESSIBILITA' DEL BENE Accessibilità: SI ALTRE LOCALIZZAZIONI GEOGRAFICO-AMMINISTRATIVE Tipo di localizzazione:
    [Show full text]
  • Venice and the Veneto Edited by Peter Humfrey Frontmatter More Information
    Cambridge University Press 978-0-521-80843-9 - Venice and the Veneto Edited by Peter Humfrey Frontmatter More information ARTISTIC CENTERS OF THE ITALIAN RENAISSANCE VENICE AND THE VENETO S This volume provides an account of the art and architecture of Venice and the principal cities of the Venetian mainland empire in the enaissance, from 1450 to 1600. Thematically organized, it puts special emphasis on the relationship between art and the political, social, and religious institutions of the Venetian epublic.The creative achievements of major painters such as Bellini,Titian, Tintoretto, and Veronese and of major architects such as Sansovino and Palla- dio are viewed in the context of the particular needs and ideologies of indi- vidual and institutional patrons. Moreover, the distinctive character of Venice as an artistic center is complemented by the discussion of the art produced in the mainland cities of Padua,Treviso,Vicenza,Verona, Brescia, and Bergamo, all of which similarly used visual means to assert their own separate identities. An up-to-date account of the art of early modern Venice, with specially com- missioned essays by a team of internationally known scholars, Venice and the Veneto is also lavishly illustrated with black-and-white and color photographs. Peter Humfrey is professor of art history at the University of St Andrews. He has been a Fellow at Villa I Tatti, Florence, and a member of the Institute of Advanced Study in Princeton. In 2000, he was elected Fellow of the oyal So- ciety of Edinburgh, and in 2005 he received the award of Cavaliere dell’Ordine dell Stella della Solidarietà Italiana.
    [Show full text]
  • Arteorto Guide for ADULTS ENG
    Aboca, the market leader The Pinacoteca of Brera The Brera Botanical in innovative treatments has one of the most Garden of Università based on natural complex important collections degli Studi di Milano molecules, develops and of Italian paintings in the was established produces safe world. Founded by the by Mary Therese of Austria and effective original empress Mary Therese in 1774 for the studies products for health of Austria in 1776, as an of the medicine and and well-being. Aboca aid for students at the pharmacy students. strongly believes in a new Academy of Fine Arts, This historic garden form of medical treatment it became a public forms an enchanting yet based on knowledge of the museum at the behest educational island www.aboca.com body’s pathophysiological of Napoleon Bonaparte of green within Palazzo www.arteorto.it mechanisms, and seeks in 1809. Brera, right in the centre to find in all of nature’s Brera mostly exhibits of Milan. This splendid, Aula didattica Aula complexity the most works from the 14th open-air museum is an Ingresso Orto suitable responses for century up to the 19th ideal place for learning Botanico Nature has always provided a source of privileged inspiration for artists, the health requirements century with a religious about plants, with a different Specola each of who interpreted it according to his own culture and sensitivity. of today and tomorrow. subject, which come from spectacular discovery for Orto Botanico Via Gabba Cortile It has worked for more abolished churches and every season. Pesa Visit this important museum, the Pinacoteca di Brera, focus your attention than 40 years on the entire convents.
    [Show full text]
  • The Anonimo; Notes on Pictures and Works of Art in Italy Made by An
    LIBRARY 2 CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE EljfcoWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library N 6915.M62 1903 The Anonimo notes on pictures and works 3 1924 020 512 681 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020512681 THE ANONIMO GEORGE BELL AND SONS LONDON : YORK ST. COVENT GARDEN CAMBRIDGE : DBIGHTON, BELL & CO. NEW YORK : THE MACMILLAN CO. BOMBAY : A. H. WHEELER & CO. THE ANONIMO NOTES ON PICTURES AND WORKS OF ART IN ITALY MADE BY AN ANONYMOUS WRITER IN THE SIXTEENTH CENTURY TRANSLATED BY PAOLO MUSSI EDITED BY GEORGE C. WILLIAMSON, Litt.D. LONDON GEORGE BELL AND SONS 1903 CHISWICK press: CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. PREFACE THE manuscript of which this is a transla- tion consists of a series of notes, made in the early part of the sixteenth century, concern- ing pictures and other treasures contained in various houses, and monuments and works of art in churches, schools, and other ecclesiastical buildings in the cities which the writer had visited. It was discovered by the Abate Don Jacopo Mnrelli in iRnn amongst the Marciana manu- scripts, a collection formed by Apostolo Zeno, a poet and literary man of Venice, who was born in 1668 and died in 1750, and who, after collect- ing together a famous series of manuscripts, left them to the Dominicans of the Osservanza.
    [Show full text]
  • Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice
    Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice by Karine Tsoumis A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Karine Tsoumis 2013 Bernardino Licinio: Portraiture, Kinship and Community in Renaissance Venice Karine Tsoumis Doctor of Philosophy Department of Art University of Toronto 2013 Abstract Bernardino Licinio was a painter of Bergamasque origin active in Venice from c. 1510 to c. 1550. Licinio was a prolific painter of portraits, concert scenes and religious images for the home and headed a prosperous family workshop. Yet the artist is largely denied importance within the current art historical narrative, being conceived as “minor,” “provincial” or “second- rate.” My dissertation questions the “constructedness” of historical identities and presents the first nuanced understanding of Licinio’s place within Venetian culture. I argue that his status as “minor” is a modern construct rather than a reflection of his contemporaries’ perception. My dissertation inscribes itself within endeavours to “de-centre” the Renaissance conceptually, and is especially indebted to recent studies of material culture that challenge art historical hierarchies and aesthetic biases. The dissertation provides a multilayered reading of Bernardino Licinio’s artistic identity through frameworks that stem from what I consider unique aspects of his practice, while others arise from problems posed by his historiographical reception. The artist’s position between Venice and Bergamo provides the line of enquiry for chapter one, where I engage with the Bergamasque ii community conceived, on the one hand, as a form of historiographical framing, and on the other, as a social reality.
    [Show full text]
  • Portrait of a Lady Holding a Coin Or Medal in Her Hand
    VINCENZO CATENA (VENISE, C. 1480 - 1531) Oil on wood panel 22 7/16 x 19 1/4 in (57 x 48.8 cm) Geneva, Michel Bertecco-Schaub collection; 1997, Lugano, private collection. This painting has obvious similarities to a work reproduced in a line-drawing by Salomon Reinach, attributed to Boltraffio and formerly with the London dealer Dowdeswell in about 1870,[1] and then correctly ascribed to Catena by Tancred Borenius when it was in the collection of Charles Newton-Robinson in London.[2] Many 26 rue Laffitte, 75009 Paris Tel : + 33 1 40 22 61 71 e-mail : [email protected] http://www.canesso.art years later, Giles Robertson recorded it as having been in the Viennese collection of Olga Gussmann, wife of the writer Arthur Schnitzler.[3] In fact, our painting is quite distinct from this last work, not only because of the different position of the right hand, the drapery folds and the colour of the mantle (a brighter, more changeant dirty green), but also for the proportions of the image, set within a taller, narrower structure (the Schnitzler panel measures 58.4 x 45.1 cm), whereas ours is very slightly shorter, and wider (57 x 48.8 cm). Infrared reflectography has revealed that the support is a repurposed panel which originally bore a figure of Saint Sebastian, from the right-hand section of a Sacra conversazione. The original wood panel, in very good condition, was then thinned down, remounted onto another panel, and finally cradled so as to impede any undesired movement of the wood.
    [Show full text]
  • The History of Collecting Giorgione in America – an Outline
    KLÁRA GARAS†* THE HISTORY OF COLLECTING GIORGIONE IN AMERICA – AN OUTLINE Abstract: Klára Garas was called upon in 1993 to write about the paintings by or attributed to Giorgione preserved in America. The manuscript was completed, but it has been never published. The author passed the article to the Acta Historiae Artium shortly before her death (26 June 2017), and it is published now only with small technical amendments. Keywords: Giorgione, art collecting in America, Italian Renaissance The history of art collecting in America, especially atmosphere, there seems to have been a certain inter- of Italian Renaissance paintings can only be roughly est in works of art coming from Italy and elsewhere outlined here and only in connection with one of its since about the 1780s. We even hear of an important leading masters, Giorgione.1 In his catalogue of the shipment of Venetian paintings sent to Philadelphia exhibition Raphael in America (Washington, 1983), by a famous English collector and resident in Venice D. A. Brown gives us a valuable summary of the dif- (1774–1790) for the considerable sum of 9,000 Zec- ferent trends of development, which can also serve as chini.4 What it might have contained and where the background in relation to Giorgione.2 Art collecting pictures got to, is unfortunately unknown. In the first started at the very beginning, when, at the end of the half of the nineteenth century there were already col- eighteenth century, amid the struggles for independ- lections, and regular exhibitions in Boston, New York, ence, American culture and art was built upon its own Philadelphia, Baltimore, etc.
    [Show full text]
  • Cristo Redentore
    SIRBeC scheda OARL - C0050-00657 Cristo redentore Busi Giovanni detto Cariani Link risorsa: https://www.lombardiabeniculturali.it/opere-arte/schede/C0050-00657/ Scheda SIRBeC: https://www.lombardiabeniculturali.it/opere-arte/schede-complete/C0050-00657/ SIRBeC scheda OARL - C0050-00657 CODICI Unità operativa: C0050 Numero scheda: 657 Codice scheda: C0050-00657 Visibilità scheda: 3 Utilizzo scheda per diffusione: 03 Tipo scheda: OA Livello ricerca: P CODICE UNIVOCO Codice regione: 03 Numero catalogo generale: 02024488 Ente schedatore: R03/ Accademia Carrara Ente competente: S27 RELAZIONI RELAZIONI CON ALTRI BENI Tipo relazione: è compreso Tipo scheda: COL Codice bene: 03 Codice IDK della scheda correlata: COL-LMD30-0000013 OGGETTO Gruppo oggetti: pittura OGGETTO Definizione: dipinto Disponibiltà del bene: reale SOGGETTO Categoria generale: sacro Identificazione: Cristo redentore Pagina 2/26 SIRBeC scheda OARL - C0050-00657 LOCALIZZAZIONE GEOGRAFICO-AMMINISTRATIVA LOCALIZZAZIONE GEOGRAFICO-AMMINISTRATIVA ATTUALE Stato: Italia Regione: Lombardia Provincia: BG Nome provincia: Bergamo Codice ISTAT comune: 016024 Comune: Bergamo COLLOCAZIONE SPECIFICA Tipologia: museo Denominazione: Accademia Carrara Denominazione spazio viabilistico: Piazza Giacomo Carrara Denominazione struttura conservativa - livello 1: Accademia Carrara Tipologia struttura conservativa: museo Collocazione originaria: SC ALTRE LOCALIZZAZIONI GEOGRAFICO-AMMINISTRATIVE Tipo di localizzazione: luogo di provenienza LOCALIZZAZIONE GEOGRAFICO-AMMINISTRATIVA [1 / 3] Stato: Italia
    [Show full text]
  • David Bowie's Tintoretto Photographic Credits Madrid © Real Academia De Bellas Artes De San Fernando: Fig
    David Bowie’s Tintoretto Angel Foretelling the Martyrdom of Saint Catherine of Alexandria Edited by Benjamin van Beneden and Nicola Jennings Preface Colnaghi has over the past 250 years sold many masterpieces to well-known clients on both sides of the Atlantic. One of these sales was Jacopo Tintoretto’s Angel Foretelling the Martyrdom of Saint Catherine of Alexandria which in the 1980s we sold to the legendary rock star David Bowie. When Bowie died early last year, the painting was auctioned along with the rest of his collection at Sotheby’s, London. In a remarkable twist of fate, the Tintoretto sold by Colnaghi was bought by a good friend and client of ours, who has now generously placed it on long-term loan at the Rubenshuis in Antwerp. We were delighted, then, when we were asked to collaborate with the Rubenshuis to produce a scholarly monograph on the work and its wider influence. Given the profound influence of Tintoretto and Venetian art on Rubens, Van Dyck, and many other Baroque artists from northern and southern Europe, the Angel Foretelling the Martyrdom of Saint Catherine of Alexandria is a work of considerable importance. It was commissioned by members of the Scuola di Santa Caterina for the Church of San Geminiano in the Piazza San Marco in Venice. Sadly this exquisite church, designed by Jacopo Sansovino, was destroyed under Napoleon. The catalogue includes articles not only on the altarpiece itself, but also on the church and on other painters including Rubens, Van Dyck, and Maerten de Vos whose work was influenced by Tintoretto.
    [Show full text]