DOCSLIB.ORG

At the Castello Sforzesco

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
At the Castello Sforzesco DISCOVER ITALIA! Leonardo da Vinci, presumed self-portrait by the artist, circa 1512 Leonardo didn’t have the expected Classics-based education, but based his studies upon experience and detailed observation, and he read Image Public Domain Public Image 38 ITALIA! September 2019 IT178.LookingForLeonardo.ncm4.indd 38 23/07/2019 10:07 Looking for Leonardo One of the grand masters of the Renaissance, Leonardo da Vinci left us a peerless legacy of art, science and imagination. This year is the 500th anniversary of his death. Rachael Martin takes a look at commemorative events in Milan and beyond… Beatrice d’Este in 1491, Leonardo Model of the aerial screw organised the wedding celebrations and designed costumes for the three-day tournament. In the brief six years Beatrice was married before she died during childbirth, she became a fashion icon for European courts. Image © Alessandro Nassiri, Museo Museo Nassiri, © Alessandro Image UNEXPECTED PATHS Nazionale della Scienza e della Tecnologia e della Scienza della Nazionale Both Leonardo and Ludovico were thirty when Leonardo arrived in Milan, and both had lives that had taken unexpected paths. Ludovico was the fourth son of Francesco, Duke of Milan. He never expected power, t is the year 1482. Leonardo da yet became regent for his young nephew Image Public Domain Public Image Vinci arrives in Milan, a thriving Gian Galeazzo Sforza and quickly the de Ludovico Sforza (kneeling, left) and Beatrice d’Este commercial centre, from Florence, facto ruler of Milan. He then became duke (opposite) with their small sons at the feet of the cradle of the Renaissance. Born in in his own right when his nephew died Virgin Mary with the Infant Christ nearby Vinci on April 15, 1452, in suspicious circumstances. Leonardo Iat fourteen he was apprenticed to the was the illegitimate son of notary Ser but based his studies upon experience and Florentine workshop of painter, sculptor Piero da Vinci and a presumed peasant detailed observation, and he read. and goldsmith Andrea del Verrocchio. woman named Caterina. He didn’t have Leonardo spent the longest and most This was the Florence of the Medici the expected Classics-based education, prolific period of his life in Milan and family, where investment in the arts and left a wide-reaching legacy. Renaissance innovation was high. Milan was a city of navigli (canals), and his Before going to Milan, Leonardo hydraulics studies improved navigation wrote a letter to the Duke of Milan, and communication between town and Ludovico Sforza, known as Il Moro, ‘The countryside and ultimately favoured Moor’. It included ten points, nine trade. Artistically speaking, he had a of which covered military attack and huge influence on Milanese, Lombard defence, while the tenth mentioned the and European painting. He gave to Milan hydraulics and architecture that would The Last Supper, Monochrome in Castello make the city more beautiful in times Sforzesco’s Sala delle Asse, the two versions of peace. He also spoke of painting, of The Virgin of the Rocks, La belle ferronnière, sculpture and a majestic bronze horse that Portrait of a Musician and Lady with an he would build in memory of Francesco Ambrosiana Biblioteca Veneranda courtesy of Image Ermine, a portrait of Ludovico’s mistress, Sforza, father of Ludovico. Cecilia Gallerani. Many believe the latter The Milanese court was also to be the first modern portrait in the flourishing. Ludovico had plans to make history of art. the Milan court the most powerful, the When the French invaded Milan in most beautiful and the richest in Europe. It 1499, Leonardo left, with his Monochrome staged magnificent pageants and masques, unfinished. He later came back to Milan for which Leonardo would later become between 1506 and 1513 and became costume designer and choreographer. Leonardo da Vinci, Map of the city of Milan, red pencil, painter to Charles II d’Amboise, Governor When Ludovico married 15-year-old pen and ink, circa 1507-10, Atlantic Codex f. 199v of the Duchy of Milan. September 2019 ITALIA! 39 IT178.LookingForLeonardo.ncm4.indd 39 23/07/2019 10:07 DISCOVER ITALIA! On the trail of Leonardo Leonardo 500 is the programme of events and exhibitions to mark the 500th anniversary of Leonardo’s death on 2 May 1519 in Amboise, France. Organised by the Milan City Hall, the Region of Lombardy and the Italian Ministry for Cultural Heritage and Tourism, it runs between May 2019 and January 2020. VIRTUAL MUSEUM OF Start at the LEONARDO’S MILAN (2 May 2019 – 2 January 2020) Castello Sforzesco This multimedia exhibition comes complete with a life-size Leonardo who IN THE SHADOW OF THE MORO, explains the story of his time in Milan THE SALA DELLE ASSE with a virtual tour of the places he would (16 May 2019 – 12 January 2020) have known. A great start for setting off to The Sala delle Asse, literally ‘The Room explore the city afterwards! of the Tower’ or ‘of the wooden boards’, was Ludovico’s principal reception hall, LEONARDO AND THE SALA re-decorated in the summer of 1498 with di Milano Ranzani © Comune by Mauro Image DELLE ASSE BETWEEN NATURE, Beatrice’s encouragement. The hall was ART E SCIENCE reopened for the 500th anniversary on (16 May 2019 – 18 August 2019) 2 May 2019 and the multimedia This exhibition takes place in the Duke’s installation focuses on the recently restored Chapel and explores the iconographic Monochrome painting that decorates the and stylistic relations between Leonardo, walls. The vault shows a pergola of Tuscan masters and artists on the other side mulberries, (Morus in Latin), in honour of of the Alps. It includes original drawings the duke known as The Moor, with houses by Leonardo, the large number of artists and hills on the horizon. Thus the internal who worked in his workshop, known as the Sala delle Asse, Castello Sforzesco, world of the court is placed alongside the Monochrome after the 2015 restoration Leonardeschi, and other Renaissance artists. wider territory of the duke’s lands. www.milanocastello.it Image © Haltadefi nizione © Haltadefi Image Image © Comune di Milano © Comune Image Vault of the Sala delle Asse Marco d’Oggiono, Madonna with Child, Saint John and before restoration, 2012 an Angel. Part of the exhibition ‘Leonardo and the Sala delle Asse converging nature, art and science’ 40 ITALIA! September 2019 IT178.LookingForLeonardo.ncm4.indd 40 23/07/2019 10:08 See The Last Supper La Veneranda This painting, commissioned by Ludovico Biblioteca Ambrosiana Sforza in 1495, forms a turning point in art history. It depicts the moment in This library is home to the Atlantic Codex, the Gospel according to St John when and the original letter that Leonardo sent Christ reveals that one of his disciples will to Ludovico before arriving in Milan. betray him. Leonardo didn’t use the fresco technique, but that used for painting on LEONARDO IN FRANCE: SHEETS wooden panels. As a result, after only 20 FROM THE FRENCH DAYS OF THE years the painting started to show signs of CODEX (18 June – 15 September) considerable decay. At the other end of the This exhibition presents 23 papers refectory is The Crucifixion, by Milanese from the Atlantic Codex that date from artist Giovanni Donato Montorfano. Leonardo’s time in France. You have to book to visit The Last Supper. ‘Yes Milano’ offers a discounted ticket to visit five museums within 30 days after your first museum visit, providing you book your visit to The Last Supper when you buy. The five visits covered by the Image © Comune di Milano © Comune Image ticket are: The Last Supper; the museums Madonna Lia by Francesco Galli known as Napoletano, of the Castello Sforzesco (Sforza Castle) circa 1495, Pinacoteca del Castello Sforzesco. The background of the painting shows an accurate and the Sala delle Asse; the Pinacoteca di representation of Sforza Castle as it was at the Brera; the Pinacoteca Ambrosiana; and the end of the 15th century. Leonardo da Vinci National Museum of Science and Technology. Leonardo’s The Last Supper is housed in the Convent of www.yesmilano.it Ambrosiana Biblioteca Veneranda courtesy of Image Santa Maria delle Grazie Image courtesy of MIBACT courtesy of Image Leonardo da Vinci, hydrographic sketches of Romorantin, pen, ink and drypoint Leonardo da Vinci, study of mechanical wing, pen and ink, circa 1578-80, Atlantic Codex f. 858r Ambrosiana Biblioteca Veneranda courtesy of Image LEONARDO AND HIS LEGACY: THE ARTISTS AND THE TECHNIQUES. SKETCHES FROM THE BIBLIOTECA AMBROSIANA COLLECTION (17 September 2019 – 12 January 2020) This explores various aspects of the art of Leonardo and his circle. www.ambrosiana.it September 2019 ITALIA! 41 IT178.LookingForLeonardo.ncm4.indd 41 23/07/2019 10:08 DISCOVER ITALIA! Leonardo’s Horse, Visit the Leonardo Ippodromo di da Vinci Parade San Siro, 2018 Image © Snaitech Image (19 July 2018 – 13 October 2019) The Leonardo da Vinci National Science and Technology Museum hosts the Leonardo da Vinci Parade. Historical Leonardesque models are placed alongside 16th-century Lombard painters from the city’s Pinacoteca di Brera that were given on trust by the director of the time, Fernanda Wittgens. When the museum opened on 15 February 1953, these were the first two collections shown. www.museoscienza.org See Leonardo’s horse at Study the portrayal the Hippodrome of horses in art National Museum of Science and Technology (Until 9 November 2019) LUCIO FONTANA: TRIBUTE TO Image © Paolo Soave, Museo Museo Soave, © Paolo Image Tecnologia e della Scienza della Nazionale The horse statue that Leonardo wanted LEONARDO to build to honour Francesco Sforza, (14 June 2019 – 15 September 2019) Leonardo da Vinci National Museum Ludovico’s father, was never realised This explores links between Fontana of Science and Technology during his time.
Load more

Recommended publications
  • 3 LEONARDO Di Strinati Tancredi ING.Key
    THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE THEORETICAL BACKGROUND The Impossible Exhibitions project derives from an instance of cultural democracy that has its precursors in Paul Valéry, Walter Benjamin and André Malraux. The project is also born of the awareness that in the age of the digital reproducibility of the work of art, the concepts of safeguarding and (cultural and economic) evaluation of the artistic patrimony inevitably enter not only the work as itself, but also its reproduction: “For a hundred years here, as soon as the history of art has escaped specialists, it has been the history of what can be photographed” (André Malraux). When one artist's work is spread over various museums, churches and private collections in different continents, it becomes almost impossible to mount monograph exhibitions that give a significant overall vision of the great past artist's work. It is even harder to create great exhibitions due to the museum directors’ growing – and understandable – unwillingness to loan the works, as well as the exorbitant costs of insurance and special security measures, which are inevitable for works of incalculable value. Impossible Exhibitions start from these premises. Chicago, Loyola University Museum of Art, 2005 Naples, San Domenico Maggiore, 2013/2014 THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE PROJECT In a single exhibition space, Impossible Exhibitions present a painter's entire oeuvre in the form of very high definition reproductions, making use of digital technology permitting reproductions that fully correspond to the original works. Utmost detail resolution, the rigorously 1:1 format (Leonardo's Last Supper reproduction occupies around 45 square meters!), the correct print tone – certified by a renowned art scholar – make these reproductions extraordinarily close to the originals.
    [Show full text]
  • Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
    Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate.
    [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]
  • LEONARDO Da Vinci Originated in Milan, and May Both Have Belonged Vinci 15.IV.1452 – Amboise 2.V.1519 to the Arconati Family
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition LEONARDO da Vinci originated in Milan, and may both have belonged Vinci 15.IV.1452 – Amboise 2.V.1519 to the Arconati family. One group, of which six One of the many tantalising puzzles about cartoons are in Strasbourg, passed through the Leonardo is the early, if not earliest, use of pastel collections of the marchese Casnedi and with which he is widely, if erroneously, credited. procuratore Zaccaria Sagredo, from whom He notes in the Ligny memorandum (Codex Robert Udny bought them in Venice in 1778. It Atlanticus, fol. 669r), around 1495 (or perhaps is now known that the drawings in the other c.1500), his intention to get the way to draw with group were in the Ambrosiana before being dry colour from Jehan de Paris (Jean Perréal, q.v.) acquired by Sir Thomas Baring c.1800; they [“piglia da gian di paris il modo de colorire a remained together in the collections successively seccho”]. This he may have done during of Sir Thomas Lawrence (there were 10 sheets in Perréal’s trip to the Milanese court with Louis the group at this stage, as is evident from an XII in 1499. A possibly earlier document anonymous 1830 print showing the artist’s (c.1493–97), the Codex Madrid I, fol. 191r, private sitting room); Samuel Woodburn, the mentions “pastelli” explicitly (apparently the first dealer who bought Lawrence’s much of use of the word in this sense), and described a collection (but only 7 of these heads); Willem II mould for making pastel sticks.
    [Show full text]
  • • 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.
    [Show full text]
  • Arena 2015 93° Festival Lirico
    ARENA 2015 ­ 93° FESTIVAL LIRICO Garda Lake ­ Regular and private excursions GARDA LAKE GARDA ISLAND Isola del Garda is a place of rare and special beauty, REGULAR EXCURSIONS Tour around the lake. Tour surrounded by the clear waters of the lake: a by coach along the romantic Gardesana, one of the picturesque rock that has welcomed ancient people most beautiful roads in Europe with its particular from the Romans to the Longobards. At long last it is vegetation like olive trees, cypresses and flowers with now possible to admire its trasures: the neogothic­ Venetian villa, the artificial caves, but above all the an extraordinary beauty. Stops on the most beautiful spots. A visit to several picturesque villages to see amazing gardens which date back to the 1880. monuments dating from the period of Roman, Scaliger, Venetian and Austrian pos­sessors. A part of the lake will be crossed by ferryboat. PRIVATE EXCURSIONS An amazing itinerary on the largest lake in Italy to visit its beatiful villages, island and to taste typical wines and products. Pick­up at the hotel with the hostess to go to Garda for a quick visit of the village. Transfer by private roofed motorboat to Punta San Vigilio and Isola del Garda. Visit of the beautiful island. Isola del Garda is a place of rare and special beauty. A precious jewel, plenty of history, memories and legends. Historical italian Gardens Experience Guerrieri Rizzardi Garden (Bardolino ­ Giardino Giusti (Verona) Garda lake) In Verona you will find one of Italy’s finest Renaissance The estate in Bardolino, on Lake Garda, dates back to gardens: Giardino Giusti.
    [Show full text]
  • Vezzosi A. Sabato A. the New Genealogical Tree of the Da Vinci
    HUMAN EVOLUTION Vol. 36 - n. 1-2 (1-90) - 2021 Vezzosi A. The New Genealogical Tree of the Da Vinci Leonardo scholar, art historian Family for Leonardo’s DNA. Founder of Museo Ideale Leonardo Da Vinci Ancestors and descendants in direct male Via IV Novembre 2 line down to the present XXI generation* 50059 Vinci (FI), Italy This research demonstrates in a documented manner the con- E-mail: [email protected] tinuity in the direct male line, from father to son, of the Da Vinci family starting with Michele (XIV century) to fourteen Sabato A. living descendants through twenty-one generations and four Historian, writer different branches, which from the XV generation (Tommaso), President of Associazione in turn generate other line branches. Such results are eagerly Leonardo Da Vinci Heritage awaited from an historical viewpoint, with the correction of the E-mail: leonardodavinciheritage@ previous Da Vinci trees (especially Uzielli, 1872, and Smiraglia gmail.com Scognamiglio, 1900) which reached down to and hinted at the XVI generation (with several errors and omissions), and an up- DOI: 10.14673/HE2021121077 date on the living. Like the surname, male heredity connects the history of regis- try records with biological history along separate lineages. Be- KEY WORDS: Leonardo Da Vinci, cause of this, the present genealogy, which spans almost seven Da Vinci new genealogy, ancestors, hundred years, can be used to verify, by means of the most living descendants, XXI generations, innovative technologies of molecular biology, the unbroken Domenico di ser Piero, Y chromosome, transmission of the Y chromosome (through the living descend- Florence, Bottinaccio (Montespertoli), ants and ancient tombs, even if with some small variations due burials, Da Vinci family tomb in Vinci, to time) with a view to confirming the recovery of Leonardo’s Santa Croce church in Vinci, Ground Y marker.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The World of Leonardo, the Success Continues
    Leonardo3 – Il Mondo di Leonardo Sale del Re, Piazza della Scala Galleria Vittorio Emanuele II entrance Ends July 31, 2013 – Daily, 10am-11pm AG 1/4 P lease – RE Leonardo3 – The World of Leonardo, the success continues The exhibit tops 340.000 visitors: 1, 2015 – Press JULy www.leonardo3.net it is one of the most attractive exhibitions in Milan during Expo2015 Milan, July 1 2015 The exhibit Leonardo3 – The World of Leonardo, produced by the Leonardo3 (L3) Research Center and held in the splendid Sale del Re (“Halls of the King”) in Piazza della Scala in Mi- lan, with entrance from inside the Galleria Vittorio Emanuele II, has been extended until October 31. It will therefore be accessible for the duration of Milan Expo so the international public can appreciate the many sides of Leonardo da Vinci’s technical and artistic production in an interactive, multimedia way. With interactive stations, fully functioning machines made from studying Leonardo’s manuscripts, unprecedented physical reconstruc- tions, digital restorations and three-dimensional reconstructions of Leonardo’s artistic creations the exhibit is unique and extremely in- structive. Convenient opening hours (everyday from 10am to 11pm, including holidays) provide easy access for tourists and locals alike. Support from the City of Milan and the Premio di Rappresentanza awarded by the President of the Republic attests to prestige and origi- nality of the show’s contents. Over three hundred and forty thousand visitors The popularity of the exhibitLeonardo3 – The World of Leonardo continues. With over three hundred and forty thousand visitors it is proving to be one of the most attractive and important interactive exhibits in the world on Leonardo da Vinci’s work as an artist and inventor.
    [Show full text]
  • Cultural Tours & Music Holidays
    cultural tours & music holidays SPRING NEWSLETTER 2019 Welcome to our new 2019 Cultural Tours & Music Holidays newsletter. We have included a selection of our favourite tours where we still have some places available, as well as details of a Index number of new holidays due to depart in 2019 and early 2020. Cornwall Music Festival 2 We are delighted to reveal details of a six day itinerary to Istanbul in October, a fascinating nine Villa Medici Giulini Collection 3 night tour to Romania, and a holiday to Finland where we attend the annual Sibelius Festival on Verdi Festival, Parma 4 the shores of Lake Lahti. Further afield we shall head to Oman - the ‘Pearl of Arabia’ in October and the beautiful island of Sri Lanka in early 2020. Handel in Sweden 5 Closer to home, we have a range of itineraries within the British Isles, including a tour of the elegant Cheltenham Music Festival 6 architecture of Georgian Dublin (see below), visits to music festivals in Cheltenham, North Norfolk, Aldeburgh Festival 7 Aldeburgh and Suffolk – and our own exclusive Kirker Music Festival in Cornwall. Sibelius Festival 8 In Italy, we will be travelling to some of the most charming and unspoilt towns including Parma in Glyndebourne 9 Emilia-Romagna for the annual Verdi Festival, Lucca in Tuscany, and the hill towns of North Norfolk Music Festival 10 Le Marche. We shall be marking the 400th anniversary of the death of Leonardo da Vinci with Kirker Music Festivals 11 a tour to Florence and Milan in the autumn and will commemorate 75 years since the D-Day landings with a tour to Normandy in the company of military historian Hill Towns of Le Marche 12 Hugh Macdonald-Buchanan.
    [Show full text]
  • Logo/Barra Comune Di Milano / Palazzo Reale
    BERNARDINO LUINI E I SUOI FIGLI Palazzo Reale, 9 aprile | 13 luglio 2014 Dal 9 aprile 2014 l‟arte del Rinascimento torna nelle sale di Palazzo Reale con una grande mostra dedicata a Bernardino Luini, curata da Giovanni Agosti e Jacopo Stoppa. Bernardino Luini e i suoi figli è un progetto promosso dal Comune di Milano-Cultura, organizzato da Palazzo Reale insieme alla Soprintendenza per i Beni Storici, Artistici ed Etnoantropologici di Milano e al Dipartimento di Beni Culturali e Ambientali dell‟Università degli Studi di Milano e prodotto insieme a Gruppo 24Ore Cultura, con il sostegno di Cosmit, Ford, e in collaborazione con l‟architetto Piero Lissoni, che ha curato allestimento e illuminazione anche grazie al supporto di Flos. La mostra, ospitata nelle sale del piano nobile di Palazzo Reale e nella sala delle Cariatidi, racconta l‟intero percorso dell’artista, dalle ricerche giovanili ai quadri della maturità, con un occhio costante, da un lato, al lavoro dei suoi contemporanei (Bramantino, Lorenzo Lotto, Andrea Solario, Giovanni Francesco Caroto, Cesare da Sesto e molti altri); dall‟altro, alla traiettoria artistica dei figli di Luini, e in particolare del più piccolo Aurelio. Un intero secolo di arte lombarda va dunque in scena a Palazzo Reale, attraverso tele, tavole, disegni, affreschi staccati, arazzi, sculture in legno e in marmo, codici miniati, volumi a stampa. Il percorso espositivo presenta una selezione di circa duecento opere provenienti soprattutto dalle raccolte milanesi (dalla Madonna del roseto della Pinacoteca di Brera al Gesù Bambino dell‟Ambrosiana, dal Sant’Antonio del Poldi Pezzoli all‟Ercole e Atlante del Castello Sforzesco), ma integrate da significativi prestiti europei (per esempio dal Louvre e dallo Jacquemart-André di Parigi, dall‟Albertina di Vienna, dal Szépművészeti Múzeum di Budapest) e americani (dai musei di Houston e di Washington).
    [Show full text]