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View over Porchia from the belltower of the Basilica Co-Cathedral of Montalto delle Marche or the 'Basilica Santa Maria Assunta e San Vito' is the main church of the town of Montalto delle Marche, Le Marche, Italy. The diocese of Montalto was founded in 1586 by Pope Sixtus V, who erected the present crypt of the church. The pope had received his religious training in the convent of San Francesco in the town. The crypt was completed early and intended to house the structures from the Holy Sepulchre. It now houses a sculptural group of the Deposition by Giorgio Paci. Construction of the church continued for centuries. Mass was only carried out by the end of the 17th century. The final Neoclassical style portico-facade and the octagonal bell tower at the rear of the church were designed by Luigi Poletti in the 19th century. It was made a minor basilica in 1965, with a baptistry in 1967, and had stained glass added in 1990s.
The painting called the Madonna di Montalto was commissioned by Cardinal Alessandro Peretti from the painter Annibale Carracci but the painting never was reached the town and remains in Bologna. The baptismal font was sculpted in 1652.
The tall brick façade has an eclectic Neoclassical design with three round arches almost suggesting a triumphal arch, flanked by pilasters with Corinthian capitals, but for the small triangular tympanum, nestled underneath a balustrade. The interior reflects the façade with a taller barrel vaulted central nave and two lower aisles separated by heavy columns and a total of 12 lateral chapels. The vault of the nave was frescoed in panels by the 19th-century painter Luigi Fontana. To the right of the entrance, the first chapel serves as the baptistry. It has a canvas depicting the Baptism of Christ (1967) painted by Michelangelo Bedini in baroque fashion. The chapel closest to the altar on the left has an canvas depicting the Virgin with the Town of Montalto and Saints Vito and Venanzo (1691) by Pietro Lucatelli. Two other altarpieces and nave frescoes are paint
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Overlay of traced and freehand versions. Pink areas are in trace, not freehand. Blue areas are in freehand, not trace. Purple is overlap (where I pretty much got it right)
1590/1595. Oli sobre fusta. 133 x 170,5 cm. National Gallery of Art, Washington, DC. 1961.9.9. Obra no exposada.
Exhibition - "Caravaggio's Roman Period -
His friends and enemies"
From 21 September to 28 January 2019
In the autumn of 2018, discover an exhibition devoted to Caravaggio (1571–1610), a leading figure in 17th-century Italian painting. Nine masterpieces by the artist will exceptionally be brought together for this unique event in Paris.
An exhibition event
These extraordinary canvases from major Italian museums—such as the Galleria Nazionale in Palazzo Barberini, the Galleria Borghese and the Musei Capitolini in Rome, the Pinacoteca di Brera in Milan, the Musei di Strada Nuova in Genoa, and the Museo Civico Ala Ponzone in Cremona, not to mention the prestigious loan of the Lute Player (1595-1596) from the Hermitage Museum of St. Petersburg, presented in France or the first time. Nine Caravaggio will retrace Caravaggio’s Roman period from 1592 until he fled into exile in 1606. They will be complemented by the works of leading contemporary painters, such as Cavaliere d’Arpino, Annibale Carracci, Orazio Gentileschi, Giovanni Baglione, and José de Ribera, in order to highlight Caravaggio’s innovative genius and the artistic effervescence that reigned in the Eternal City at the time.
An exceptional artist at the heart of the roman artistic scene
Born in 1571, Michelangelo Merisi, whose byname was Caravaggio, revolutionised Italian painting in the 17th century through the realism of his canvases and his innovative use of chiaroscuro, and became the greatest naturalistic painter of his time.
The exhibition will focus on Caravaggio’s Roman period and the artistic circle in which he moved: as the most recent studies have shown, the painter maintained close relations with the contemporary intellectual circles in Rome. The exhibition will therefore look at Caravaggio’s links with the collectors and artists, and also the poets and scholars of his time—links that have never been highlighted in an exhibition.
The exhibition will initially focus on life in Rome at the beginning of the seventeenth century, by looking at the artistic activity in the major workshops, in which Caravaggio began his career. It was during this period that Caravaggio met various figures who were to play a key role in his career: Marchese Giustiniani (1564–1637) and Cardinal Francesco Maria del Monte (1549–1627). They became Caravaggio’s foremost patrons and he received many prestigious commissions from them. After looking at Caravaggio’s friends and supporters, the exhibition will focus on his enemies and rivals who were also part of the art scene in Rome at the time. Caravaggio—the painter did not want other artists to imitate his style, but this did in fact occur—sometimes clashed with his confrères during discussions, lawsuits, and even brawls.
His career in Rome ended in 1606, when Caravaggio killed Ranuccio Tomassoni during a heated discussion. Condemned to death after this fatal brawl, Caravaggio fled into exile but his most loyal patrons continued to take an interest in his work.
Caravaggio (Michelangelo Merisi)
Italian, Lombard, 1571-1610
Detail from: The Holy Family with the Infant Saint John the Baptist
Oil on canvas
Previously known through copies and old photographs, this is the only private devotional picture of the Madonna and Child by Caravaggio. It dates from about 1602-04, at a time when Caravaggio was increasingly attentive to paintings of his great contemporary Annibale Carracci, whose work in Rome is in the classical tradition of Raphael. From about 1600, critics and collectors promoted rivalry between Caravaggio and Annibale Carracci.
The picture seems to have been sent to France shortly after its execution ( a number of copies are still in French collections). This may be the reason the painting is not mentioned by any of Caravaggio’s biographers.
Private collection
L.1998.71
From the placard: Metropolitan Museum
Reggio Emilia - Basilica di San Prospero.
Wiki -"The Basilica of San Prospero is an ancient church in central Reggio Emilia, Italy.
A church at the site, known as San Prospero di Castello, located inside the city walls, is known prior to 997. The church and its adjacent bell tower underwent reconstructions. In 1514, the church which was in ruins, was demolished and a new design by Luca Corti and Matteo Florentino was erected by 1527. Minor chapels were added till 1543, when the basilica was reconsecrated. Major changes to the belltower were designed by Cristoforo Ricci and Giulio Romano in 1536-1570. The facade of the church had been left incomplete till it was completed in 1748-1753 using designs of Giovanni Battista Cattani. While the statues on the facade are contemporary with Cattani's design, on the dais in front of the church are placed six lions (1501), sculpted in rose-colored marble by Gaspare Bigi, and meant to be bases for columns of a portico that had been planned for the church front.
The interior has works of art by Giovanni Giarola, Michelangelo Anselmi, Denis Calvaert, Ludovico Carracci, and Tommaso Laureti. It has altarpieces by Alessandro Tiarini and Francesco Stringa. Sculptors whose work is in the church include Bartolomeo Spani (Tomb of Rufino Gabloneta (1527) over the entrance) and Prospero Spani (il Clemente), who sculpted a Madonna on the right transept. The presbytery has a picture cycle by Camillo Procaccini and Bernardino Campi. The apse is frescoed with a Last Judgment by Procaccini.
The Chapel of the Pratonero family in this church once held the painting by Correggio of the Nativity (La Notte) (1522), which now is found in the Dresden Gallery. In 1640, the painting was absconded from the chapel by the Dukes of Modena for their private collection, a sacrilege which generated a local uproar. A copy made in replacement."
Charcoal, highlighted with white chalk, on blue paper faded light- brown; 43 x 35.7 cm.
"Neither clean nor well-dressed, with his collar askew, his hat jammed on any old way and his unkempt beard, Annibale Carracci seemed to be like an ancient philosopher, absent-minded and alone," wrote an early biographer. A tailor's son, Carracci considered himself a craftsman, not a courtier, but the Romans buried him in the Pantheon beside Raphael.
Along with his older brother Agostino and his cousin Lodovico, Annibale founded the Accademia degli Incamminati (Academy of the Progressives) in Bologna, which focused on naturalism and rejected Mannerism. There they revived the practice of working from life, focusing on the craft of art rather than the elegant life of court painters. The Carracci were tireless observers. Scholars credit Annibale with teaching caricature and helping to revive the process of creating extensive preparatory drawings for paintings.
Between 1597 and 1601, Carracci worked on the gallery ceiling of the Palazzo Farnese in Rome, his most important legacy. Conceiving the ceiling as open to the sky, he painted its mythological love scenes as framed easel pictures within an illusionistic framework. After receiving a paltry five hundred lire for this extensive decoration, he suffered a breakdown. A prolific draftsman, Carracci derived his heroic figure style from antique sculpture and Michelangelo and Raphael's art, but he added a richness and buoyancy from his copious studies from life. He originated the "ideal landscape," with figures, buildings, and nature in perfect balance, a nature tamed and ennobled by man's presence.
Palazzo Ducale
An avenue through the park and four 18th century statues by J.B. Boudard lead to the ducal residence. Created by Vignola in 16th century for Ottavio Farnese, it was later transformed and enlarged by Ennemond Petitot in the 18th century by adding four corner pavillions.
The palace, which nowadays houses the Carabinieri offices, is frescoed in the Mannerist style with 18th century stucco-works. A monumental staircase leads to the Sala degli uccelli or Bird Room, named after the stucco decoration by Benigno Bossi representing 224 birds of different species against the blue barrel-vaulted ceiling.
The Sala di Alcina contains the oldest fresco in the palace, a cycle dating back to 1568 based on book VII of Orlando Furioso. The Sala del Bacio or Room of Kiss was probably frescoed by Bertoja after 1570, drawing inspiration from Orlando innamorato by Boiardo. There is also a smaller Sala di Erminia and a Sala dell'Amore, which was almost certainly designed by Agostino Carracci in 1601, even though he only executed the scenes depicting the allegories of Love.
The Galleria Corsini of Rome is located in one of the most characteristic settings of Trastevere, just beyond the fifteenth-century Settimiana Gate, opposite the Farnesina and the Botanical Gardens. It is located in a palace which was rebuilt beginning in 1735 by Ferdinando Fuga, under the commission of the Corsini family, on the site of the sixteenth-century Palazzo Riario, the former seventeenth-century residence of Queen Christina of Sweden.
The Corsini family, originally from Florence, moved to Rome following Clemente XII's election as pope in 1730. He held office until 1740. In 1883, the palace was sold to the Italian government. The Corsini family also donated their collection, assembled during the course of the eighteenth century. Acquiring the collection was an important step for the cultural policy of tbe new unified state because the National Gallery of Ancient Art began from this first core collection.
Presentlyl the Galleria occupies eight rooms on the main floor wing of the building and exhibits more than three hundreds paintings as well as furnitures, small bronzes and ancient and modern sculptures, in part located in the rest of the palace. Today it is the site of the Accademia and Biblioteca of the Lincei, which houses the superb, intact Corsinian Library, noteworthy for its engravings and manuscripts.
The collection includes paintings of the 14th - 18tb centuries, with the majority of the artwork from the 17th - 18th centuries. The Roman, Neapolitan and Bolognese schools are well represented here with important core collections of bambocciante and landscape painters as well as great foreign artists. Among the most important painters, featured are: Beato Angelico, Fra' Bartolomeo, Iacopo Bassano, Rubens, Van Dyck, Murillo, Poussin, Caravaggio and Ribera, but there are also Annibale Carracci, Guido Reni, Guercino, Mattia Preti, Andrea del Sarto, Salvator Rosa, Gaspard Dughet, Luca Giordano, Piazzetta, Maratta and many olhers.
Of special historical note is Queen Christina of Sweden's bedroom with frescoes from the Zuccari school, dating from the end of the sixteenth century.
Detail from: ‘Mars and Vernus United by Love Paolo Veronese ( Paolo Caliari) Italian, Venetian, 1528-1588
Oil on canvas
Signed (lower center, on marble fragment): PAVLVS VERONENSIS F
Cupids binds Mars ( the god of war) to Venus with a love knot. The picture operates on a number of allegorical levels and celebrates the civilizing and nurturing effects of love (milk flows from Venus’s breast and Mar’s horse is restrained). It belongs to a series of paintings commissioned by Emperor Rudolf II, in Prague between 1576 and 1582 (two further paintings are in the Frick Collection, New York). These are among Veronese’s greatest works, done when at the height of his powers.
Veronese was among the greatest masters of light and color, and his work had an enduring impact on later artists, from Annibale Carracci and Velazquez to Tiepolo.
John Stewart Kennedy Fund, 1910 10.189
From the placard: Metropolitan Museum of Art
Palazzo Ducale
An avenue through the park and four 18th century statues by J.B. Boudard lead to the ducal residence. Created by Vignola in 16th century for Ottavio Farnese, it was later transformed and enlarged by Ennemond Petitot in the 18th century by adding four corner pavillions.
The palace, which nowadays houses the Carabinieri offices, is frescoed in the Mannerist style with 18th century stucco-works. A monumental staircase leads to the Sala degli uccelli or Bird Room, named after the stucco decoration by Benigno Bossi representing 224 birds of different species against the blue barrel-vaulted ceiling.
The Sala di Alcina contains the oldest fresco in the palace, a cycle dating back to 1568 based on book VII of Orlando Furioso. The Sala del Bacio or Room of Kiss was probably frescoed by Bertoja after 1570, drawing inspiration from Orlando innamorato by Boiardo. There is also a smaller Sala di Erminia and a Sala dell'Amore, which was almost certainly designed by Agostino Carracci in 1601, even though he only executed the scenes depicting the allegories of Love.
"The Crucifixion of St-Peter" (1600-1601), a relatively large painting (230x175 cm) by Michelangelo Merisi da Caravaggio (29 September 1571, Milan, Duchy of Milan, Spanish Empire -18 July 1610, Porto Ercole, State of the Presidi, Spanish Empire)
is one of two of his paintings depicting the Conversion of St. Paul and the Crucifixion of St. Peter adorning the side walls in the Cerasi Chapel (1601-1606), designed by architect Carlo Maderno inside the
Parish Basilica of Santa Maria del Popolo (1472-1477)
Piazza del Popolo 12
00187 Roma RM
ITALY
Tiberio Cerasi (1544, Rome – May 3, 1601, Frascati, Papal States) was a Roman jurist and Treasurer-General to Pope Clement VIII, who commissioned two side paintings on cypress wood from Caravaggio and a central painting depicting "The Assumption of the Virgin" (1600-1601) by Annibale Carracci (November 3, 1560, Bologna, Papal States - July 15, 1609, Rome, Papal States).
Bologna (/bəˈloʊnjə/, UK also /bəˈlɒnjə/, Italian: [boˈloɲɲa]; Emilian: Bulåggna [buˈlʌɲːa]; Latin: Bononia) is a city in and the capital of the Emilia-Romagna region in Northern Italy, of which it is also its largest. It is the seventh most populous city in Italy with about 400,000 inhabitants and 150 different nationalities. Its metropolitan area is home to more than 1,000,000 people. It is known as the Fat City for its rich cuisine, and the Red City for its Spanish-style red tiled rooftops and, more recently, its leftist politics. It is also called the Learned City because it is home to the oldest university in the world.
Originally Etruscan, the city has been an important urban center for centuries, first under the Etruscans (who called it Felsina), then under the Celts as Bona, later under the Romans (Bonōnia), then again in the Middle Ages, as a free municipality and later signoria, when it was among the largest European cities by population. Famous for its towers, churches and lengthy porticoes, Bologna has a well-preserved historical centre, thanks to a careful restoration and conservation policy which began at the end of the 1970s. Home to the oldest university in continuous operation, the University of Bologna, established in AD 1088, the city has a large student population that gives it a cosmopolitan character. In 2000 it was declared European capital of culture and in 2006, a UNESCO "City of Music" and became part of the Creative Cities Network. In 2021 UNESCO recognized the lengthy porticoes of the city as a World Heritage Site.
Bologna is an important agricultural, industrial, financial and transport hub, where many large mechanical, electronic and food companies have their headquarters as well as one of the largest permanent trade fairs in Europe. According to recent data gathered by the European Regional Economic Growth Index (E-REGI) of 2009, Bologna is the first Italian city and the 47th European city in terms of its economic growth rate; in 2022 Il Sole 24 Ore named Bologna the best city in Italy for overall quality of life.
History
Antiquity and Middle Ages
Traces of human habitation in the area of Bologna go back to the 3rd millennium BCE, with significant settlements from about the 9th century BCE (Villanovan culture). The influence of Etruscan civilization reached the area in the 7th to 6th centuries, and the Etruscan city of Felsina was established at the site of Bologna by the end of the 6th century. By the 4th century BCE, the site was occupied by the Gaulish Boii, and it became a Roman colony and municipium with the name of Bonōnia in 196 BCE. During the waning years of the Western Roman Empire Bologna was repeatedly sacked by the Goths. It is in this period that legendary Bishop Petronius, according to ancient chronicles, rebuilt the ruined town and founded the basilica of Saint Stephen. Petronius is still revered as the patron saint of Bologna.
In 727–28, the city was sacked and captured by the Lombards under King Liutprand, becoming part of that kingdom. These Germanic conquerors built an important new quarter, called "addizione longobarda" (Italian meaning "Longobard addition") near the complex of St. Stephen.[20] In the last quarter of the 8th century, Charlemagne, at the request of Pope Adrian I, invaded the Lombard Kingdom, causing its eventual demise. Occupied by Frankish troops in 774 on behalf of the papacy, Bologna remained under imperial authority and prospered as a frontier mark of the Carolingian empire.
Bologna was the center of a revived study of law, including the scholar Irnerius (c 1050 – after 1125) and his famous students, the Four Doctors of Bologna.
After the death of Matilda of Tuscany in 1115, Bologna obtained substantial concessions from Emperor Henry V. However, when Frederick Barbarossa subsequently attempted to strike down the deal, Bologna joined the Lombard League, which then defeated the imperial armies at the Battle of Legnano and established an effective autonomy at the Peace of Constance in 1183. Subsequently, the town began to expand rapidly and became one of the main commercial trade centres of northern Italy thanks to a system of canals that allowed barges and ships to come and go. Believed to have been established in 1088, the University of Bologna is widely considered the world's oldest university in continuous operation. The university originated as a centre for the study of medieval Roman law under major glossators, including Irnerius. It numbered Dante, Boccaccio and Petrarch among its students. The medical school was especially renowned. By 1200, Bologna was a thriving commercial and artisanal centre of about 10,000 people.
During a campaign to support the imperial cities of Modena and Cremona against Bologna, Frederick II's son, King Enzo of Sardinia, was defeated and captured on 26 May 1249 at the Battle of Fossalta. Though the emperor demanded his release, Enzo was thenceforth kept a knightly prisoner in Bologna, in a palace that came to be named Palazzo Re Enzo after him. Every attempt to escape or to rescue him failed, and he died after more than 22 years in captivity. After the death of his half-brothers Conrad IV in 1254, Frederick of Antioch in 1256 and Manfred in 1266, as well as the execution of his nephew Conradin in 1268, he was the last of the Hohenstaufen heirs.
During the late 1200s, Bologna was affected by political instability when the most prominent families incessantly fought for the control of the town. The free commune was severely weakened by decades of infighting, allowing the Pope to impose the rule of his envoy Cardinal Bertrand du Pouget in 1327. Du Pouget was eventually ousted by a popular rebellion and Bologna became a signoria under Taddeo Pepoli in 1334. By the arrival of the Black Death in 1348, Bologna had 40,000 to 50,000 inhabitants, reduced to just 20,000 to 25,000 after the plague.
In 1350, Bologna was conquered by archbishop Giovanni Visconti, the new lord of Milan. But following a rebellion by the town's governor, a renegade member of the Visconti family, Bologna was recuperated to the papacy in 1363 by Cardinal Gil Álvarez Carrillo de Albornoz after a long negotiation involving a huge indemnity paid to Bernabò Visconti, Giovanni's heir, who died in 1354. In 1376, Bologna again revolted against Papal rule and joined Florence in the unsuccessful War of the Eight Saints. However, extreme infighting inside the Holy See after the Western Schism prevented the papacy from restoring its domination over Bologna, so it remained relatively independent for some decades as an oligarchic republic. In 1401, Giovanni I Bentivoglio took power in a coup with the support of Milan, but the Milanese, having turned his back on them and allied with Florence, marched on Bologna and had Giovanni killed the following year. In 1442, Hannibal I Bentivoglio, Giovanni's nephew, recovered Bologna from the Milanese, only to be assassinated in a conspiracy plotted by Pope Eugene IV three years later. But the signoria of the Bentivoglio family was then firmly established, and the power passed to his cousin Sante Bentivoglio, who ruled until 1462, followed by Giovanni II. Giovanni II managed to resist the expansionist designs of Cesare Borgia for some time, but on 7 October 1506, Pope Julius II issued a bull deposing and excommunicating Bentivoglio and placing the city under interdict. When the papal troops, along with a contingent sent by Louis XII of France, marched against Bologna, Bentivoglio and his family fled. Julius II entered the city triumphantly on 10 November.
Early modern
The period of Papal rule over Bologna (1506–1796) has been generally evaluated by historians as one of severe decline. However, this was not evident in the 1500s, which were marked by some major developments in Bologna. In 1530, Emperor Charles V was crowned in Bologna, the last of the Holy Roman Emperors to be crowned by the pope. In 1564, the Piazza del Nettuno and the Palazzo dei Banchi were built, along with the Archiginnasio, the main building of the university. The period of Papal rule saw also the construction of many churches and other religious establishments, and the restoration of older ones. At this time, Bologna had ninety-six convents, more than any other Italian city. Painters working in Bologna during this period established the Bolognese School which includes Annibale Carracci, Domenichino, Guercino, and others of European fame.
It was only towards the end of the 16th century that severe signs of decline began to manifest. A series of plagues in the late 16th to early 17th century reduced the population of the city from some 72,000 in the mid-16th century to about 47,000 by 1630. During the 1629–1631 Italian plague alone, Bologna lost up to a third of its population] In the mid-17th century, the population stabilized at roughly 60,000, slowly increasing to some 70,000 by the mid-18th century. The economy of Bologna started to show signs of severe decline as the global centres of trade shifted towards the Atlantic. The traditional silk industry was in a critical state. The university was losing students, who once came from all over Europe, because of the illiberal attitudes of the Church towards culture (especially after the trial of Galileo). Bologna continued to suffer a progressive deindustrialisation also in the 18th century.
In the mid-1700s, Pope Benedict XIV, a Bolognese, tried to reverse the decline of the city with a series of reforms intended to stimulate the economy and promote the arts. However, these reforms achieved only mixed results. The pope's efforts to stimulate the decaying textile industry had little success, while he was more successful in reforming the tax system, liberalising trade and relaxing the oppressive system of censorship.
The economic and demographic decline of Bologna became even more noticeable starting in the second half of the 18th century. In 1790, the city had 72,000 inhabitants, ranking as the second largest in the Papal States; however, this figure had remained unchanged for decades.
During this period, Papal economic policies included heavy customs duties and concessions of monopolies to single manufacturers.
Modern history
Napoleon entered Bologna on 19 June 1796. Napoleon briefly reinstated the ancient mode of government, giving power to the Senate, which however had to swear fealty to the short-lived Cispadane Republic, created as a client state of the French First Republic at the congress of Reggio (27 December 1796 – 9 January 1797) but succeeded by the Cisalpine Republic on 9 July 1797, later by the Italian Republic and finally the Kingdom of Italy. After the fall of Napoleon, the Congress of Vienna of 1815 restored Bologna to the Papal States. Papal rule was contested in the uprisings of 1831. The insurrected provinces planned to unite as the Province Italiane Unite with Bologna as the capital. Pope Gregory XVI asked for Austrian help against the rebels. Metternich warned French king Louis Philippe I against intervention in Italian affairs, and in the spring of 1831, Austrian forces marched across the Italian peninsula, defeating the rebellion by 26 April.
By the mid-1840s, unemployment levels were very high and traditional industries continued to languish or disappear; Bologna became a city of economic disparity with the top 10 percent of the population living off rent, another 20 percent exercising professions or commerce and 70 percent working in low-paid, often insecure manual jobs. The Papal census of 1841 reported 10,000 permanent beggars and another 30,000 (out of a total population of 70,000) who lived in poverty. In the revolutions of 1848 the Austrian garrisons which controlled the city on behalf of the Pope were temporarily expelled, but eventually came back and crushed the revolutionaries.
Papal rule finally ended in the aftermath of Second War of Italian Independence, when the French and Piedmontese troops expelled the Austrians from Italian lands, on 11 and 12 March 1860, Bologna voted to join the new Kingdom of Italy. In the last decades of the 19th century, Bologna once again thrived economically and socially. In 1863 Naples was linked to Rome by railway, and the following year Bologna to Florence. Bolognese moderate agrarian elites, that supported liberal insurgencies against the papacy and were admirers of the British political system and of free trade, envisioned a unified national state that would open a bigger market for the massive agricultural production of the Emilian plains. Indeed, Bologna gave Italy one of its first prime ministers, Marco Minghetti.
After World War I, Bologna was heavily involved in the Biennio Rosso socialist uprisings. As a consequence, the traditionally moderate elites of the city turned their back on the progressive faction and gave their support to the rising Fascist movement of Benito Mussolini. Dino Grandi, a high-ranking Fascist party official and Ministry of Foreign Affairs, remembered for being an Anglophile, was from Bologna. During the interwar years, Bologna developed into an important manufacturing centre for food processing, agricultural machinery and metalworking. The Fascist regime poured in massive investments, for example with the setting up of a giant tobacco manufacturing plant in 1937.
World War II
Bologna suffered extensive damage during World War II. The strategic importance of the city as an industrial and railway hub connecting northern and central Italy made it a target for the Allied forces. On 24 July 1943, a massive aerial bombardment destroyed a significant part of the historic city centre and killed about 200 people. The main railway station and adjoining areas were severely hit, and 44% of the buildings in the centre were listed as having been destroyed or severely damaged. The city was heavily bombed again on 25 September. The raids, which this time were not confined to the city centre, left 2,481 people dead and 2,000 injured. By the end of the war, 43% of all buildings in Bologna had been destroyed or damaged.
After the armistice of 1943, the city became a key centre of the Italian resistance movement. On 7 November 1944, a pitched battle around Porta Lame, waged by partisans of the 7th Brigade of the Gruppi d'Azione Patriottica against Fascist and Nazi occupation forces, did not succeed in triggering a general uprising, despite being one of the largest resistance-led urban conflicts in the European theatre. Resistance forces entered Bologna on the morning of 21 April 1945. By this time, the Germans had already largely left the city in the face of the Allied advance, spearheaded by Polish forces advancing from the east during the Battle of Bologna which had been fought since 9 April. First to arrive in the centre was the 87th Infantry Regiment of the Friuli Combat Group under general Arturo Scattini, who entered the centre from Porta Maggiore to the south. Since the soldiers were dressed in British outfits, they were initially thought to be part of the allied forces; when the local inhabitants heard the soldiers were speaking Italian, they poured out onto the streets to celebrate.
Cold War period
In the post-war years, Bologna became a thriving industrial centre as well as a political stronghold of the Italian Communist Party. Between 1945 and 1999, the city was helmed by an uninterrupted succession of mayors from the PCI and its successors, the Democratic Party of the Left and Democrats of the Left, the first of whom was Giuseppe Dozza. At the end of the 1960s the city authorities, worried by massive gentrification and suburbanisation, asked Japanese starchitect Kenzo Tange to sketch a master plan for a new town north of Bologna; however, the project that came out in 1970 was evaluated as too ambitious and expensive. Eventually the city council, in spite of vetoing Tange's master plan, decided to keep his project for a new exhibition centre and business district. At the end of 1978 the construction of a tower block and several diverse buildings and structures started. In 1985 the headquarters of the regional government of Emilia-Romagna moved in the new district.
In 1977, Bologna was the scene of rioting linked to the Movement of 1977, a spontaneous political movement of the time. The police shooting of a far-left activist, Francesco Lorusso, sparked two days of street clashes. On 2 August 1980, at the height of the "years of lead", a terrorist bomb was set off in the central railway station of Bologna killing 85 people and wounding 200, an event which is known in Italy as the Bologna massacre. In 1995, members of the neo-fascist group Nuclei Armati Rivoluzionari were convicted for carrying out the attack, while Licio Gelli—Grand Master of the underground Freemason lodge Propaganda Due (P2)—was convicted for hampering the investigation, together with three agents of the secret military intelligence service SISMI (including Francesco Pazienza and Pietro Musumeci). Commemorations take place in Bologna on 2 August each year, culminating in a concert in the main square.
21st century
In 1999, the long tradition of left-wing mayors was interrupted by the victory of independent centre-right candidate Giorgio Guazzaloca. However, Bologna reverted to form in 2004 when Sergio Cofferati, a former trade union leader, unseated Guazzaloca. The next centre-left mayor, Flavio Delbono, elected in June 2009, resigned in January 2010 after being involved in a corruption scandal. After a 15-month period in which the city was administered under Anna Maria Cancellieri (as a state-appointed prefect), Virginio Merola was elected as mayor, leading a left-wing coalition comprising the Democratic Party, Left Ecology Freedom and Italy of Values. In 2016, Merola was confirmed mayor, defeating the conservative candidate, Lucia Borgonzoni. In 2021, after ten years of Merola's mayorship, one of his closest allies, Matteo Lepore, was elected mayor with 61.9% of votes, becoming the most voted mayor of Bologna since the introduction of the direct elections in 1995.
Geography
Territory
Bologna is situated on the edge of the Po Plain at the foot of the Apennine Mountains, at the meeting of the Reno and Savena river valleys. As Bologna's two main watercourses flow directly to the sea, the town lies outside of the drainage basin of the River Po. The Province of Bologna stretches from the western edge of the Po Plain on the border with Ferrara to the Tuscan-Emilian Apennines. The centre of the town is 54 metres (177 ft) above sea level (while elevation within the municipality ranges from 29 metres (95 ft) in the suburb of Corticella to 300 metres (980 ft) in Sabbiuno and the Colle della Guardia). The Province of Bologna stretches from the Po Plain into the Apennines; the highest point in the province is the peak of Corno alle Scale (in Lizzano in Belvedere) at 1,945 metres (6,381 ft) above sea level.
Cityscape
Until the late 19th century, when a large-scale urban renewal project was undertaken, Bologna was one of the few remaining large walled cities in Europe; to this day and despite having suffered considerable bombing damage in 1944, Bologna's 142 hectares (350 acres) historic centre is Europe's second largest, containing an immense wealth of important medieval, renaissance, and baroque artistic monuments.
Bologna developed along the Via Emilia as an Etruscan and later Roman colony; the Via Emilia still runs straight through the city under the changing names of Strada Maggiore, Rizzoli, Ugo Bassi, and San Felice. Due to its Roman heritage, the central streets of Bologna, today largely pedestrianized, follow the grid pattern of the Roman settlement. The original Roman ramparts were supplanted by a high medieval system of fortifications, remains of which are still visible, and finally by a third and final set of ramparts built in the 13th century, of which numerous sections survive. No more than twenty medieval defensive towers remain out of up to 180 that were built in the 12th and 13th centuries before the arrival of unified civic government. The most famous of the towers of Bologna are the central "Due Torri" (Asinelli and Garisenda), whose iconic leaning forms provide a popular symbol of the town.
The cityscape is further enriched by its elegant and extensive porticoes, for which the city is famous. In total, there are some 38 kilometres (24 miles) of porticoes in the city's historical centre (over 45 km (28 mi) in the city proper), which make it possible to walk for long distances sheltered from the elements.
The Portico di San Luca is possibly the world's longest. It connects Porta Saragozza (one of the twelve gates of the ancient walls built in the Middle Ages, which circled a 7.5 km (4.7 mi) part of the city) with the Sanctuary of the Madonna di San Luca, a church begun in 1723 on the site of an 11th-century edifice which had already been enlarged in the 14th century, prominently located on a hill (289 metres (948 feet)) overlooking the town, which is one of Bologna's main landmarks. The windy 666 vault arcades, almost four kilometres (3,796 m or 12,454 ft) long, effectively links San Luca, as the church is commonly called, to the city centre. Its porticos provide shelter for the traditional procession which every year since 1433 has carried a Byzantine icon of the Madonna with Child attributed to Luke the Evangelist down to the Bologna Cathedral during the Feast of the Ascension.
In 2021, the porticoes were named as a UNESCO World Heritage Site.
San Petronio Basilica, built between 1388 and 1479 (but still unfinished), is the tenth-largest church in the world by volume, 132 metres long and 66 metres wide, while the vault reaches 45 metres inside and 51 metres in the facade. With its volume of 258,000 m3, it is the largest (Gothic or otherwise) church built of bricks of the world. The Basilica of Saint Stephen and its sanctuary are among the oldest structures in Bologna, having been built starting from the 8th century, according to the tradition on the site of an ancient temple dedicated to Egyptian goddess Isis. The Basilica of Saint Dominic is an example of Romanic architecture from the 13th century, enriched by the monumental tombs of great Bolognese glossators Rolandino de'Passeggeri and Egidio Foscherari. Basilicas of St Francis, Santa Maria dei Servi and San Giacomo Maggiore are other magnificent examples of 14th-century architecture, the latter also featuring Renaissance artworks such as the Bentivoglio Altarpiece by Lorenzo Costa. Finally, the Church of San Michele in Bosco is a 15th-century religious complex located on a hill not far from the city's historical center.
(Wikipedia)
Bologna [boˈlɔnja, italienisch boˈloɲːa] ist eine italienische Universitätsstadt und die Hauptstadt der Metropolitanstadt Bologna sowie der Region Emilia-Romagna. Die Großstadt ist mit 390.625 Einwohnern (Stand: 31. Dezember 2019) die siebtgrößte italienische Stadt und ein bedeutender nationaler Verkehrsknotenpunkt.
Geografie
Allgemein
Bologna liegt am südlichen Rand der Po-Ebene am Fuße des Apennin, zwischen den Flüssen Reno und Savena in Norditalien. Die Flussläufe und Kanäle in der Stadt wurden im Verlaufe der Stadtentwicklung aus sanitären Gründen fast vollständig überbaut. Die durch Bologna fließenden Gewässer sind der Canale di Reno, der Canale di Savena und der Aposa; sie werden nördlich des Stadtzentrums zum Navile zusammengefasst. Damit wird dem Canale di Savena ein Teil des Wassers entzogen; der nachfolgende Flussarm heißt entsprechend Savena abbandonato („aufgegebener Savena“). In den westlichen Stadtteilen verläuft zudem der Ravone, der sich weiter östlich mit dem Reno vereint. Das Adriatische Meer befindet sich ca. 60 Kilometer östlich der Stadt.
Geschichte
Antike
Die Geschichte der Stadt beginnt als etruskische Gründung mit dem Namen Felsina vermutlich im 6. Jahrhundert v. Chr., Spuren älterer dörflicher Siedlungen der Villanovakultur in der Gegend reichen bis ins 11./10. Jahrhundert v. Chr. zurück. Die etruskische Stadt wuchs um ein Heiligtum auf einem Hügel und war von einer Nekropole umgeben.
Im 5. Jahrhundert v. Chr. eroberten die keltischen Boier Felsina. 191 v. Chr. wurde die Stadt von den Römern erobert, 189 v. Chr. wurde sie als Bononia römische Colonia. 3000 latinische Familien siedelten sich dort an, wobei den ehemaligen Konsuln Lucius Valerius Flaccus, Marcus Atilius Seranus und Lucius Valerius Tappo die Organisation der Stadt(neu)gründung übertragen wurde.[3] Der Bau der Via Aemilia 187 v. Chr. machte Bononia zum Verkehrsknotenpunkt: Hier kreuzte sich die Hauptverkehrsstraße der Poebene mit der Via Flaminia minor nach Arretium (Arezzo). 88 v. Chr. erhielt Bononia über die Lex municipalis wie alle Landstädte Italiens volles römisches Bürgerrecht. Nach einem Brand wurde sie im 1. Jahrhundert unter Kaiser Nero wieder aufgebaut.
Wie für eine römische Stadt typisch, war Bononia schachbrettartig um die zentrale Kreuzung zweier Hauptstraßen angelegt, des Cardo mit dem Decumanus. Sechs Nord-Süd- und acht Ost-West-Straßen teilten die Stadt in einzelne Quartiere und sind bis heute erhalten. Während der römischen Kaiserzeit hatte Bononia mindestens 12.000, möglicherweise jedoch bis 30.000 Einwohner. Bei Ausgrabungen rund um das Forum der antiken Stadt in den Jahren 1989–1994 wurden zwei Tempel, Verwaltungsgebäude, Markthallen und das Tagungsgebäude des Stadtrates gefunden; im südlichen Teil des ursprünglichen Stadtgebietes ist ein Theater freigelegt worden. Die Stadt scheint jedoch deutlich über ihre ursprüngliche Befestigung hinausgewachsen zu sein, beispielsweise sind außerhalb der Stadtmauer ein Amphitheater, ein Aquädukt und ein Thermenareal entdeckt worden. Der Geograph Pomponius Mela zählte die Stadt im 1. Jahrhundert n. Chr. zu den fünf üppigsten (opulentissimae) Städten Italiens.
Mittelalter
Nach einem langen Niedergang wurde Bologna im 5. Jahrhundert unter dem Bischof Petronius wiedergeboren, der nach dem Vorbild der Jerusalemer Grabeskirche den Kirchenkomplex von Santo Stefano errichtet haben soll. Nach dem Ende des Römischen Reiches war Bologna ein vorgeschobenes Bollwerk des Exarchats von Ravenna, geschützt von mehreren Wallringen, die jedoch den größten Teil der verfallenen römischen Stadt nicht einschlossen. 728 wurde die Stadt von dem Langobardenkönig Liutprand erobert und damit Teil des Langobardenreichs. Die Langobarden schufen in Bologna einen neuen Stadtteil nahe Santo Stefano, bis heute Addizione Longobarda genannt, in dem Karl der Große bei seinem Besuch 786 unterkam.
Im 11. Jahrhundert wuchs der Ort als freie Kommune erneut. 1088 wurde der Studio gegründet – heute die älteste Universität Europas –, an der zahlreiche bedeutende Gelehrte des Mittelalters lehrten, unter anderem Irnerius, woraus dann im 12. Jahrhundert die Universität Bologna[4] entstand. Da sich die Stadt weiter ausdehnte, erhielt sie im 12. Jahrhundert einen neuen Wallring, ein weiterer wurde im 14. Jahrhundert fertiggestellt.
1164 trat Bologna in den Lombardenbund gegen Friedrich I. Barbarossa ein, 1256 verkündete die Stadt die Legge del Paradiso (Paradiesgesetz), das Leibeigenschaft und Sklaverei abschaffte und die verbleibenden Sklaven mit öffentlichem Geld freikaufte. 50.000 bis 70.000 Menschen lebten zu dieser Zeit in Bologna und machten die Stadt zur sechst- oder siebtgrößten Europas nach Konstantinopel, Córdoba, Paris, Venedig, Florenz und möglicherweise Mailand. Das Stadtzentrum war ein Wald von Türmen: Schätzungsweise um die 100 Geschlechtertürme der führenden Familien, Kirchtürme und Türme öffentlicher Gebäude bestimmten das Stadtbild.
Bologna entschied sich 1248, die Weizenausfuhr zu verbieten, um die Lebensmittelversorgung seiner schnell wachsenden Bevölkerung zu sichern. Das kam einer Enteignung der venezianischen Grundbesitzer, vor allem der Klöster gleich. 1234 ging die Stadt noch einen Schritt weiter und besetzte Cervia, womit es in direkte Konkurrenz zu Venedig trat, das das Salzmonopol in der Adria beanspruchte. 1248 dehnte Bologna seine Herrschaft auf die Grafschaft Imola, 1252–1254 sogar auf Ravenna aus. Dazu kamen 1256 Bagnacavallo, Faenza und Forlì.
Doch der schwelende Konflikt zwischen Venedig und Bologna wurde 1240 durch die Besetzung der Stadt durch Kaiser Friedrich II. unterbrochen. Nachdem sich Cervia 1252 jedoch wieder Venedig unterstellt hatte, wurde es von einer gemeinsamen ravennatisch-bolognesischen Armee im Oktober 1254 zurückerobert. Venedig errichtete im Gegenzug 1258 am Po di Primaro eine Sperrfestung. Etsch, Po und der für die Versorgung Bolognas lebenswichtige Reno wurden damit blockiert – wobei letzterer von der See aus wiederum nur über den Po erreichbar war, und die Etsch bereits seit langer Zeit durch Cavarzere von Venedig kontrolliert wurde. Mit Hilfe dieser Blockade, vor allem an der Sperrfestung Marcamò – Bologna riegelte Marcamò vergebens durch ein eigenes Kastell ab – zwang Venedig das ausgehungerte Bologna zu einem Abkommen, das die Venezianer diktierten. Das bolognesische Kastell wurde geschleift. Ravenna stand Venedigs Händlern wieder offen, Venedigs Monopol war durchgesetzt.
Im Jahre 1272 starb in Bologna nach mehr als 22-jähriger Haft im Palazzo Nuovo (dem heutigen Palazzo di re Enzo) der König Enzio von Sardinien, ein unehelicher Sohn des Staufer-Kaisers Friedrich II.
Wie die meisten Kommunen Italiens war Bologna damals zusätzlich zu den äußeren Konflikten von inneren Streitigkeiten zwischen Ghibellinen und Guelfen (Staufer- bzw. Welfen-Partei, Kaiser gegen Papst) zerrissen. So wurde 1274 die einflussreiche ghibellinische Familie Lambertazzi aus der Stadt vertrieben.
Als Bologna 1297 verstärkt gegen die Ghibellinen der mittleren Romagna vorging, fürchtete Venedig das erneute Aufkommen einer konkurrierenden Festlandsmacht. Das betraf vor allem Ravenna. Venedig drohte der Stadt wegen Nichteinhaltung seiner Verträge und Bevorzugung Bolognas. Doch der Streit konnte beigelegt werden. Zu einer erneuten Handelssperre seitens Venedigs (wohl wegen der Ernennung Baiamonte Tiepolos zum Capitano von Bologna) kam es Ende 1326. Bologna hatte sich dem Schutz des Papstes unterstellt, nachdem es 1325 von Modena in der Schlacht von Zappolino vernichtend geschlagen worden war. Im Mai 1327 wurden alle Bologneser aufgefordert, Venedig innerhalb eines Monats zu verlassen. 1328–1332 kam es zu Handelssperren und Repressalien. Ravenna blieb dabei der wichtigste Importhafen der Region, den z. B. Bologna für größere Importe aus Apulien weiterhin nutzte. Zwischen 1325 und 1337 kam es zum Eimerkrieg von Bologna. Während der Pest-Epidemie von 1348 starben etwa 30.000 der Einwohner.
Nach der Regierungszeit Taddeo Pepolis (1337–1347) fiel Bologna an die Visconti Mailands, kehrte aber 1360 auf Betreiben von Kardinal Gil Álvarez Carillo de Albornoz durch Kauf wieder in den Machtbereich des Papstes zurück. Die folgenden Jahre waren bestimmt von einer Reihe republikanischer Regierungen (so z. B. die von 1377, die die Basilica di San Petronio und die Loggia dei Mercanti errichten ließ), wechselnder Zugehörigkeit zum päpstlichen oder Viscontischen Machtbereich und andauernder, verlustreicher Familienfehden.
1402 fiel die Stadt an Gian Galeazzo Visconti, der zum Signore von Bologna avancierte. Nachdem 1433 Bologna und Imola gefallen waren (bis 1435), verhalf Venedig dem Papst 1440/41 endgültig zur Stadtherrschaft. Bei der Gelegenheit nahm Venedig 1441–1509 Ravenna in Besitz.
Um diese Zeit erlangte die Familie der Bentivoglio mit Sante (1445–1462) und Giovanni II. (1462–1506) die Herrschaft in Bologna. Während ihrer Regierungszeit blühte die Stadt auf, angesehene Architekten und Maler gaben Bologna das Gesicht einer klassischen italienischen Renaissance-Stadt, die allerdings ihre Ambitionen auf Eroberung endgültig aufgeben musste.
Neuzeit
Giovannis Herrschaft endete 1506, als die Truppen Papst Julius' II. Bologna belagerten und die Kunstschätze seines Palastes plünderten. Im Anschluss gehörte Bologna bis zum 18. Jahrhundert zum Kirchenstaat und wurde von einem päpstlichen Legaten und einem Senat regiert, der alle zwei Monate einen gonfaloniere (Richter) wählte, der von acht Konsuln unterstützt wurde. Am 24. Februar 1530 wurde Karl V. von Papst Clemens VII. in Bologna zum Kaiser gekrönt. Es war die letzte vom Papst durchgeführte Kaiserkrönung. Der Wohlstand der Stadt dauerte an, doch eine Seuche am Ende des 16. Jahrhunderts verringerte die Zahl der Einwohner von 72.000 auf 59.000, eine weitere 1630 ließ sie auf 47.000 schrumpfen, bevor sie sich wieder auf 60.000 bis 65.000 einpendelte.
1564 wurden die Piazza del Nettuno, der Palazzo dei Banchi und der Archiginnasio erbaut, der Sitz der Universität. Zahlreiche Kirchen und andere religiöse Einrichtungen wurden während der päpstlichen Herrschaft neu errichtet, ältere renoviert – Bolognas 96 Klöster waren italienischer Rekord. Bedeutende Maler wie Annibale Carracci, Domenichino und Guercino, die in dieser Periode in Bologna tätig waren, formten die Bologneser Schule der Malerei.
Im napoleonischen Europa wurde Bologna 1796 – seit dem Ersten Koalitionskrieg vom Kirchenstaat unabhängig – zunächst Hauptstadt der kurzlebigen Cispadanischen Republik und später die nach Mailand bedeutendste Stadt in der Cisalpinischen Republik und des napoleonischen Königreichs Italien. Am 28. Januar 1814 eroberten die Österreicher die Stadt kurzzeitig zurück, mussten am 2. April 1815 dem Einmarsch französischer Truppen weichen, um am 16. April 1815 Bologna endgültig einzunehmen. Nach dem Fall Napoleons schlug der Wiener Kongress 1815 Bologna wieder dem Kirchenstaat zu, worauf dies am 18. Juli 1816 zur Ausführung kam.
Die Bevölkerung rebellierte im Frühjahr 1831 gegen die päpstliche Restauration. Durch eine neuerliche österreichische Besatzung ab dem 21. März 1831 wurde dem ein Ende gemacht. Die Besatzung dauerte mit einer kurzen Unterbrechung (Juli 1831 bis Januar 1832) bis zum 30. November 1838. Die Macht war damit erneut in der Hand des Papstes. Dagegen erhob sich im August 1843 der Aufstand der Moti di Savigno. Erneut kam es 1848/1849 zu Volksaufständen, als es vom 8. August 1848 bis 16. Mai 1849 gelang, die Truppen der österreichischen Garnison zu vertreiben, die danach erneut bis 1860 die Befehlsgewalt über die Stadt innehatten. Nach einem Besuch von Papst Pius IX. 1857 stimmte Bologna am 12. Juni 1859 für seine Annexion durch das Königreich Sardinien, wodurch die Stadt Teil des vereinten Italien wurde.
Zu Beginn des 20. Jahrhunderts wurden die Mauern der Stadt bis auf wenige Reste abgerissen, um der schnell wachsenden Bevölkerung Platz zu schaffen. In den Wahlen am 28. Juni 1914 errang der Sozialist Francesco Zanardi zum ersten Mal das Stadtpräsidium (sindaco) für die Linke. Mit der Unterbrechung des Faschismus wird Bologna seitdem überwiegend von linken Stadtregierungen verwaltet.
1940 zählte Bologna 320.000 Einwohner. Im Zweiten Weltkrieg wurde Bologna in den Kämpfen der untergehenden NS-Diktatur mit amerikanischen, britischen und polnischen Invasionstruppen der Alliierten bombardiert und beschädigt, wobei in der Stadt 2.481 Zivilisten ums Leben kamen. Am 21. April 1945 wurde die Stadt von Einheiten des II. polnischen Korps befreit. Nach dem Krieg erholte sich Bologna schnell und ist heute eine der wohlhabendsten und stadtplanerisch gelungensten Städte Italiens.
Anschlag von Bologna 1980
Am 2. August 1980 verübte eine Gruppe von Rechtsextremisten einen Bombenanschlag auf den Hauptbahnhof der Stadt. 85 Menschen starben, mindestens 200 wurden verletzt. 1995 wurden für diesen Anschlag zwei Mitglieder der faschistischen Nuclei Armati Rivoluzionari und Mitarbeiter des italienischen Geheimdienstes zu langjährigen Haftstrafen verurteilt.
Kulinarisches
Bologna ist die Heimat der Tortellini – mit Hackfleisch gefüllte, kleine ringförmige Teigwaren, die in einer Hühnerbrühe (brodo) oder mit Sahnesoße serviert werden. Einer Legende nach sollen die Tortellini den Nabel der römischen Liebesgöttin Venus nachbilden.
Eine weitere klassische Pasta aus Bologna sind Tagliatelle, mit Ei hergestellte Bandnudeln, die traditionell mit Ragù alla bolognese, einer Soße mit Hackfleisch und Tomaten, serviert werden. Von den bolognesischen Tagliatelle al ragù wurden die Spaghetti bolognese inspiriert, die aber nicht zur Küche Bolognas gehören, sondern vermutlich aus Nordamerika stammen.
Eine weitere aus Bologna stammende Spezialität ist die Mortadella, eine Aufschnittwurst vom Schwein, die in hauchdünne Scheiben geschnitten verzehrt wird.
Bologna ist außerdem für seine grüne Lasagne bekannt.
Bildung
Die 1088 gegründete Universität Bologna ist die älteste Institution dieser Art in Europa. Die etwa 80.000 Studenten stellen bei einer Gesamtbevölkerung von um die 400.000 einen bedeutenden Teil der Stadtbevölkerung und prägen die Stadt, vor allem innerhalb der historischen Stadtmauern. Die Stadt ist nicht nur bei Studenten aus allen Teilen Italiens beliebt, sondern auch bei ausländischen Studenten. Neben Erasmus-Studenten sind das vor allem Studenten aus den USA.
Außerdem gibt es in der Stadt die Akademie der Bildenden Künste, an der unter anderem Giorgio Morandi lehrte und Enrico Marconi eine Ausbildung absolvierte. Das SAIS Bologna Center ist eine Außenstelle der School of Advanced International Studies (SAIS) der Johns Hopkins University. Bologna war Ort der Bolognaerklärung im Jahr 1999 und Namensgeber des Bologna-Prozesses zur Reformierung und Vereinheitlichung des Europäischen Hochschulraums.
(Wikipedia)
1604-1607. Fresc traspassat a tela. 235 x 82,5 x 3,5 cm. Museu Nacional d'Art de Catalunya, Barcelona. 005678-000. Obra exposada: Sala 38.1.
Roman, 1st century AD From Italy
Together with a statue of Apollo,this sculpture once framed the central doorway of the gallery in the PalazzoFarnese in Rome. The Farnese family assembled one of the most importantRenaissance collections of antiquities in the city. Cardinal AlessandroFarnese, later Pope under the name of Paul III, commissioned the family'smagnificent palace. Begun by the architect Antonio di Sangallo (about1455-1534) and finally completed by Michelangelo (1475-1564), it housed themost splendid antiquities owned by the family and became one of the primedestinations for visitors to Rome. Its centrepiece was a great gallery over thearcades of the back part of the palace, completed in 1589. The gallerycontained fine sculptures integrated with wall and ceiling frescoes, added byAnnibale Carracci (1560-1609) after 1597, into a carefully thought-outiconographic program.
This statue of Hermes, identified byhis winged sandals and the herald's staff in his left hand, is a Roman copy ofa famous type created in the school of the Greek sculptor Praxiteles in thefourth century BC. Another Roman copy after the same type was in the Vatican,where it was known as the 'Belvedere Antinous'.
John and Mable Ringling Museum of Art
Sarasota, Florida
Fra Bonaventura Bisi
Artist: GUERCINO (Giovanni Francesco Barbieri) (Italian, 1591 - 1666)
Depicted: Alfonso IV d'Este (Italian, 1634 - 1662)
Date: 1658–1659
Giovanni Francesco Barbieri was the leading Bolognese painter after the death of Guido Reni, and was called Guercino in reference to his pronounced squint. Guercino was born at Cento, near Bologna. He was largely self-taught but influenced by the Carracci and in particular by Ludovico Carracci. In 1621 Guercino was invited to Rome to work for Pope Gregory XV and over the next two years painted a number of influential works that would have great impact on the development of Baroque painting. On the death of the Pope in 1623, Guercino returned to Cento, and then settled in Bologna, probably in 1644, after the death of Guido Reni. In the interveining decade, Guercino’s fame had spread so widely that requests for his paintings came from as far away as England, and he often worked in nearby Bologna and in Modena, where he was summoned in 1632–33 to paint portraits for the young Duke Francesco I d’Este. While Guercino’s earlier pictures typically combine the chiaroscuro effects of Caravaggio with a charm and softness not usually found in followers of this artist, his later work is more academic, closer to the manner of Reni, and lacks the bravura handling and chiaroscuro effects of his earlier paintings.
This extraordinary portrait by Guercino shows Fra Bonaventura Bisi (Bologna, 9 October 1601–5 December 1659 Bologna), a Franciscan friar who resided at the convent of San Francesco in Bologna. Often called “Il Pittorino” or “Padre Pittorino”, Bisi was a well-known engraver and miniature painter. Bisi was also a dealer of paintings and drawings, selling especially to members of the Medici and Este courts at Florence and Modena, respectively. Bisi and Guercino were close friends—Bisi’s surviving correspondence indicates that he sold drawings to Guercino; Guercino made a splendid caricature drawing of the friar, now in the Ashmolean Museum, Oxford (fig. 1); and Guercino is known to have painted two canvases for Bisi, probably as gifts, each depicting a putto with symbols of the Passion. The portrait may likewise have been made as gift from Guercino to Bisi, and indeed, that the picture was made as a personal gesture or token is supported by the fact that the work does not appear in the artist’s account book, the Libro dei conti.
Caravaggio (Michelangelo Merisi)
Italian, Lombard, 1571-1610
The Holy Family with the Infant Saint John the Baptist
Oil on canvas
Previously known through copies and old photographs, this is the only private devotional picture of the Madonna and Child by Caravaggio. It dates from about 1602-04, at a time when Caravaggio was increasingly attentive to paintings of his great contemporary Annibale Carracci, whose work in Rome is in the classical tradition of Raphael. From about 1600, critics and collectors promoted rivalry between Caravaggio and Annibale Carracci.
The picture seems to have been sent to France shortly after its execution ( a number of copies are still in French collections). This may be the reason the painting is not mentioned by any of Caravaggio’s biographers.
Private collection
L.1998.71
From the placard: Metropolitan Museum
The Palazzo Farnese was commissioned in 1514 by Cardinal Alessandro Farnese, who later reigned as Pope Paul III, and was designed by Antonio di Sangallo - though some of the windows and the cornice were designed by the great Michelangelo. It now serves as the French Embassy. Parts of the palace can be visited on guided tours, including the Farnese Gallery, with its fabulous ceiling painting by Annibale Carracci ('The Loves of the Gods'). This, sadly, cannot be photographed.
Obra: La Inmaculada
Autor: José de Ribera (1591-1652) -Lo Sagnoletto
Fecha: Silgo XVII(1635)
Estilo: Barroco
Técnica: Óleo sobre lienzo
.
El cuadro representa a la Inmaculada Concepción, es decir, a la Virgen María preservada por Dios del pecado original desde su concepción. El dogma se proclamó en 1854, poniendo fin a una larga controversia que había comenzado en el siglo XII y que tuvo su punto culminante en la España del siglo XVII, cuando los protestantes no aceptaron esta creencia popular. En el marco de la compleja historia de la formación iconográfica de la Purísima hay varios momentos importantes, pero no será un tema frecuente en la iconografía cristiana hasta este siglo XVII en el que se pinta en España una serie numerosa de inmaculadas de gran calidad, pues era un tema muy popular. Este gran lienzo forma parte del retablo de las Agustinas de Salamanca y fue pintado al óleo por José de Ribera en el XVII. El pintor Pacheco, maestro de Velázquez, había dado la iconografía del tema: la virgen debía ser represantada en edad juvenil, vestida con una túnica blanca y un manto azul, símbolos respectivamente de pureza y eternidad (según la visión de Santa Brígida), coronada con las doce estrellas y con la media luna a los pies. En el capítulo12 del Apocalipsis se lee: “Una gran señal apareció en el cielo: una Mujer, vestida del sol, con la luna bajo sus pies, y una corona de doce estrellas sobre su cabeza”. La tradición ha identificado a esta Mujer con María. Ribera acepta la mayor parte de esta iconografía, pero rompe con el modelo estático tradicional español de Zurbarán o de Velázquez. Está influido por los pintores más luminosos del momento en Italia, los hermanos Carracci, pero dota a la obra de una espiritualidad propia del barroco español. En la parte baja del cuadro unos angelitos llevan diversos atributos e invocaciones que la piedad popular atribuye a la Virgen según las Letanías de Loreto: palmera, rama de olivo, rosa, lirio, espejo sin mancha, torre de David, etc.En la parte baja del cuadro dos ángeles mancebos miran con arrobo a la Virgen. En la parte superior aparece la figura de Dios Padre, en atrevido escorzo, amparando con su mano a la Virgen. Debajo, la figura de la paloma, símbolo del Espíritu Santo, protege a la madre de Jesús, segunda persona de la Santísima Trinidad. En este momento Ribera ha abandonado el tenebrismo y hace un cuadro luminoso, de rico colorido. Es una versión de gran importancia en el iconografía del tema de la Purísima.
Source : www.wga.hu/art/c/carracci/annibale/farnese/farnese1.jpg
Galerie Farnèse, Le triomphe de Bacchus et d'Ariane, Vue d'ensemble (isolé), 1597-1602, Fresque, Rome, Palais Farnèse
Voir aussi : lesommeildendymion.wordpress.com/2013/04/03/278/
Exhibition - "Caravaggio's Roman Period -
His friends and enemies"
From 21 September to 28 January 2019
In the autumn of 2018, discover an exhibition devoted to Caravaggio (1571–1610), a leading figure in 17th-century Italian painting. Nine masterpieces by the artist will exceptionally be brought together for this unique event in Paris.
An exhibition event
These extraordinary canvases from major Italian museums—such as the Galleria Nazionale in Palazzo Barberini, the Galleria Borghese and the Musei Capitolini in Rome, the Pinacoteca di Brera in Milan, the Musei di Strada Nuova in Genoa, and the Museo Civico Ala Ponzone in Cremona, not to mention the prestigious loan of the Lute Player (1595-1596) from the Hermitage Museum of St. Petersburg, presented in France or the first time. Nine Caravaggio will retrace Caravaggio’s Roman period from 1592 until he fled into exile in 1606. They will be complemented by the works of leading contemporary painters, such as Cavaliere d’Arpino, Annibale Carracci, Orazio Gentileschi, Giovanni Baglione, and José de Ribera, in order to highlight Caravaggio’s innovative genius and the artistic effervescence that reigned in the Eternal City at the time.
An exceptional artist at the heart of the roman artistic scene
Born in 1571, Michelangelo Merisi, whose byname was Caravaggio, revolutionised Italian painting in the 17th century through the realism of his canvases and his innovative use of chiaroscuro, and became the greatest naturalistic painter of his time.
The exhibition will focus on Caravaggio’s Roman period and the artistic circle in which he moved: as the most recent studies have shown, the painter maintained close relations with the contemporary intellectual circles in Rome. The exhibition will therefore look at Caravaggio’s links with the collectors and artists, and also the poets and scholars of his time—links that have never been highlighted in an exhibition.
The exhibition will initially focus on life in Rome at the beginning of the seventeenth century, by looking at the artistic activity in the major workshops, in which Caravaggio began his career. It was during this period that Caravaggio met various figures who were to play a key role in his career: Marchese Giustiniani (1564–1637) and Cardinal Francesco Maria del Monte (1549–1627). They became Caravaggio’s foremost patrons and he received many prestigious commissions from them. After looking at Caravaggio’s friends and supporters, the exhibition will focus on his enemies and rivals who were also part of the art scene in Rome at the time. Caravaggio—the painter did not want other artists to imitate his style, but this did in fact occur—sometimes clashed with his confrères during discussions, lawsuits, and even brawls.
His career in Rome ended in 1606, when Caravaggio killed Ranuccio Tomassoni during a heated discussion. Condemned to death after this fatal brawl, Caravaggio fled into exile but his most loyal patrons continued to take an interest in his work.
[Folio 12.]
-Éxtasis de Santa Teresa; Capilla Cornaro, Iglesia de Santa María della Victoria, Roma.
-La Beata Albertoni; Iglesia de San Francesco a Ripa, Roma.
C)PINTURA
1.ITALIA
CARAVAGGIO
-Baco; Uffizi, Florencia.
-Cena en Emaús; National Gallery, Londres.
-La crucifixión de San Pedro; Iglesia de Santa María del Popolo, Roma.
-La conversión de San Pablo; Iglesia de Santa María del Popolo, Roma.
-La vocación de San Mateo; Capilla contarelli, Iglesia de San Luis de los Franceses, Roma.
-Muerte de la Virgen; museo del Louvre, París.
ANNIBALE CARRACCI
-Bóveda de la Galería Farnese: Triunfo de Baco y Ariadna. Palacio Farnese, Roma.
2.FLANDES: ESCUELA FLAMENCA
PEDRO PABLO RUBENS
-El Duque de Lerma. Museo del Prado; Madrid.
-El Descendimiento; Catedral de Amberes.
-Enrique IV recibiendo el retrato de María de Medici; Museo del Louvre; París.
-El Jardín del Amor; Museo del Prado; Madrid.
-Las Tres Gracias. Museo del Prado; Madrid.
3.ESCUELA HOLANDESA
REMBRANDT
-Autorretrato (1634); Museo Nacional, Berlín.
-Lección de anatomía del Profesor Tulp; Mauritshuis. La Haya.
-Ronda de noche; Rijkmuseum, Amsterdam.
-Mujer bañándose; Natioanl Gallery, Londres.
-Los síndicos de los pañeros; Rijkmuseum, Amsterdam.
-El hombre del yelmo de oro; Staatliche Museen. Berlín.
II.EL BARROCO EN ESPAÑA
A)ARQUITECTURA
GÓMEZ DE MORA
-Plaza Mayor de Madrid.
-12-
John and Mable Ringling Museum of Art
Sarasota, Florida
2nd from left: Susannah and the Elders
Susannah and the Elders
Artist: Sisto Badalocchio (Italian, 1585 - 1619)
Depicted: Susannah (Ancient Babylon)
Date: ca. 1602-1610
The story of Susannah and the Elders (part of the Additions to the Book of Daniel) recounts how the beautiful Susannah was attacked by two lustful elders, who threatened that they would denounce her publicly if she did not succumb to their advances. She refused, was sentenced to death for adultery, and only saved when Daniel exposed the elders’ treachery. The subject was popularized in the 17th century by the painter Annibale Carracci and his school of followers, one of whom was Sisto Badalocchio, who painted this work.
3rd from left: Judith with the Head of Holofernes
Artist: Francesco Cairo (Italian, 1607 - 1665)
Date: ca.1633-37
The Apocryphal Book of Judith tells the story of the Jewish woman who seduced and killed the Assyrian general Holofernes, preventing him from ravaging the city of Bethulia. Francesco Cairo depicts the heroine as a simple young girl in an elaborate dress and turban. The influence of Caravaggio is visible in the chiaroscuro and in the representation of biblical figures as ordinary people dressed in dramatic costumes. Judith's inscrutable expression has been interpreted as pride or perhaps shock. A celebrated court painter in Turin, Cairo frequently painted dark biblical and historical subjects that bordered on the macabre.
Francesco Solimena was a prolific Italian painter of the Baroque era, one of an established family of painters and draughtsmen. Solimena was the leading Neapolitan painter of the first half of the 18th century. In a long and extremely productive career he painted frescoes in many of the great churches in Naples, and he became one of the wealthiest and most famous European artists of his day. His vigorous style, often marked by dramatic lighting, owed much to the example of such Baroque artists as Luca Giordano (his outstanding predecessor in Naples), Lanfranco, and Preti, but it also has a firmness of structure and a clarity of draughtmanship that shows his allegiance to the classical tradition of Raphael and Annibale Carracci. Solimena's paintings were in demand all over Europe, and his international influence was spread also by his celebrity as teacher. Ramsay was among his pupils and Fragonard copied his work in S. Paolo Maggiore.
[This photograph is identify the artist (614)]
This artist is NOT in any prior SET
This artist is Italian
This artist is Male
Date: 1603
This painting is found in European Paintings TheMET
.
Week 3 of Identify the Artist IV Theme: Christian Art of the Season 2
Domenichino ( Domenico Zampieri ) Italian, Bologna 1581-1641 Naples
The Lamentation , 1603
Oil on copper
This beautifullypreserved picturewas painted by Domenichino a year after he moved from his native Bologna to Rome. The composition repeats that of a large altarpiece designed by Annibale Carracci for the church of San Francesco a Ripa, Rome (now in the Louvre, Paris)and this explains why, in the past, the picture was ascribed to Annibale rather than to Domenichino. Annibale greatly admired the talent of his young assistant, who in this picture outstripped his master in creating a mood of restrained but poignant grief. The turbaned figure of Joseph of Arimathea with an urn was Domenichino’s personal interpolation.
Purchase, Walter and Leonore Annenberg Acquisitions Endowment fund, European Paintings Funds and funds from various donors; Mr. and Mrs. Mark Fisch and The Reed Foundation Gifts; Gwynne Andrews Fund; Elaine Rosenberg Gift; The Edward Joseph Gallagher III Memorial Collection, Edward J. Gallagher Jr. Bequest; Marquand Fund; Museum Purchase Fund; Peter Tcherepine Gift; The Camille M. Lownds Fund; Stephenson Family Foundation Gift; Ruth and Victoria Blumka Fund; Earl Kiely Bequest; and The Morse G. Dial Foundation, 2005 CINOA Prize and Diane Carol Brandt Gifts.
2008
2008.72
From the placard: Metropolitan Museum of Art
Santa Maria del Popolo es una basílica de Roma, situada en la Piazza del Popolo, junto a una de las antiguas puertas de la ciudad. Pertenece desde 1250 a los agLa primera edificación fue una simple capilla construida por orden del papa Pascual II sobre el mismo lugar donde Nerón fue sepultado. Seguramente el papa quiso celebrar con esta iglesia la liberación del Santo Sepulcro que tuvo lugar el mismo año de su fundación, 1099. Las obras fueron costeadas por el pueblo romano, de ahí el nombre que recibió la iglesia desde sus orígenes y la advocación del icono posterior (siglo XIII, de inspiración bizantina) que preside el altar mayor y cuya autoría se atribuía al evangelista San Lucas, aunque a veces se atribuye el topónimo a la abundancia de chopos (en italiano: pioppi) en este lugar. La capilla fue ampliada en 1227 por el papa Gregorio IX, pero será en el siglo XV (bajo el impulso de Sixto IV) cuando se realicen las intervenciones arquitectónicas que determinan la configuración actual del templo. Giorgio Vasari atribuyó estas obras al arquitecto Baccio Pontelli, pero la historiografía contemporánea rechaza su autoría y tiende a pensar que fue Andrea Bregno quien las diseñó y ejecutó, dando al edificio un aspecto renacentista. En cualquier caso, no hay certeza absoluta sobre los autores de la arquitectura ni de la fachada (esta última también modificada por Bernini en el siglo XVII).
El templo formaba parte de un convento agustino. La arquitectura de todo el conjunto se acomodaba al espíritu de sobriedad de los agustinos, como se evidencia en la fachada.
La iglesia tiene tres naves con transepto y un muy desarrollado ábside (donde está el coro conventual). Está cubierta con bóvedas de crucería sobre pilares con semicolumnas adosadas, siguiendo el modelo de las iglesias lombardas del siglo XV que, a su vez, se inspiran en la tradición gótica de la zona. Hay cuatro capillas poligonales en cada nave lateral y dos más flanqueando el presbiterio.
En el siglo XVI Donato Bramante y Rafael Sanzio hacen nuevas obras (el primero, el coro absidial; Rafael, la capilla del banquero Agostino Chigi). En el XVII Alejandro VII decidió reformar de nuevo la iglesia y fue Gian Lorenzo Bernini el encargado de conferir a la decoración interior del templo el aspecto barroco actual. En ese mismo siglo, Carlo Fontana reforma una capilla (la cappella Cybo) e imita la obra de Rafael en la capella Chigi.
A principios del siglo XIX se acometió un ambicioso programa urbanístico que remodeló por completo la Piazza del Popolo y al Pincio y que afectó a la iglesia: las dependencias conventuales del siglo XV fueron destruidas entre 1811 y 1813 (el edificio actual es una reconstrucción del arquitecto Valadier). En tal convento fue donde se hospedó Martín Lutero durante su estancia en Italia en sus años de juventud.
En la iglesia se conservan obras artísticas extraordinarias: así, la Natividad (hacia 1490) de Tiberio d'Assisi o la tumba de los cardenales Della Rovere del escultor Andrea Bregno en la primera capilla de la nave derecha; el sepulcro del obispo Pietro Foscari (con escultura de bronce de Vecchietta) en la capila Costa (cuarta de la nave derecha). En la capilla Cerasi se conservan dos obras maestras de Caravaggio: la Conversión de San Pablo y la Crucifixión de San Pedro; y también otro excelente óleo de Annibale Carracci, la Asunción de la Virgen. En la cuarta capilla de la nave izquierda está la obra maestra del escultor Alessandro Algardi: el busto del cardenal Garcia Mellini (hacia 1630).
En la sacristía se conservan restos escultóricos del convento destruido y el antiguo altar mayor del templo, importante obra en mármol de Andrea Bregno de 1473, en el que integra una virgen anterior de la escuela sienesa (siglo XIV).
The Cerasi Chapel in the 15th century Basilica of Santa Maria del Popolo contain two of Caravaggio's finest religious paintings, the Crucifixion of St Peter and the Conversion of St Paul. They were both painted in 1600-01. Between them is a fine work by Annibale Carracci, The Assumption of the Virgin. . It was also painted in 1600-01.
Francesco Solimena was a prolific Italian painter of the Baroque era, one of an established family of painters and draughtsmen. Solimena was the leading Neapolitan painter of the first half of the 18th century. In a long and extremely productive career he painted frescoes in many of the great churches in Naples, and he became one of the wealthiest and most famous European artists of his day. His vigorous style, often marked by dramatic lighting, owed much to the example of such Baroque artists as Luca Giordano (his outstanding predecessor in Naples), Lanfranco, and Preti, but it also has a firmness of structure and a clarity of draughtmanship that shows his allegiance to the classical tradition of Raphael and Annibale Carracci. Solimena's paintings were in demand all over Europe, and his international influence was spread also by his celebrity as teacher. Ramsay was among his pupils and Fragonard copied his work in S. Paolo Maggiore.
Francesco Solimena was a prolific Italian painter of the Baroque era, one of an established family of painters and draughtsmen. Solimena was the leading Neapolitan painter of the first half of the 18th century. In a long and extremely productive career he painted frescoes in many of the great churches in Naples, and he became one of the wealthiest and most famous European artists of his day. His vigorous style, often marked by dramatic lighting, owed much to the example of such Baroque artists as Luca Giordano (his outstanding predecessor in Naples), Lanfranco, and Preti, but it also has a firmness of structure and a clarity of draughtmanship that shows his allegiance to the classical tradition of Raphael and Annibale Carracci. Solimena's paintings were in demand all over Europe, and his international influence was spread also by his celebrity as teacher. Ramsay was among his pupils and Fragonard copied his work in S. Paolo Maggiore.
Exhibition - "Caravaggio's Roman Period -
His friends and enemies"
From 21 September to 28 January 2019
In the autumn of 2018, discover an exhibition devoted to Caravaggio (1571–1610), a leading figure in 17th-century Italian painting. Nine masterpieces by the artist will exceptionally be brought together for this unique event in Paris.
An exhibition event
These extraordinary canvases from major Italian museums—such as the Galleria Nazionale in Palazzo Barberini, the Galleria Borghese and the Musei Capitolini in Rome, the Pinacoteca di Brera in Milan, the Musei di Strada Nuova in Genoa, and the Museo Civico Ala Ponzone in Cremona, not to mention the prestigious loan of the Lute Player (1595-1596) from the Hermitage Museum of St. Petersburg, presented in France or the first time. Nine Caravaggio will retrace Caravaggio’s Roman period from 1592 until he fled into exile in 1606. They will be complemented by the works of leading contemporary painters, such as Cavaliere d’Arpino, Annibale Carracci, Orazio Gentileschi, Giovanni Baglione, and José de Ribera, in order to highlight Caravaggio’s innovative genius and the artistic effervescence that reigned in the Eternal City at the time.
An exceptional artist at the heart of the roman artistic scene
Born in 1571, Michelangelo Merisi, whose byname was Caravaggio, revolutionised Italian painting in the 17th century through the realism of his canvases and his innovative use of chiaroscuro, and became the greatest naturalistic painter of his time.
The exhibition will focus on Caravaggio’s Roman period and the artistic circle in which he moved: as the most recent studies have shown, the painter maintained close relations with the contemporary intellectual circles in Rome. The exhibition will therefore look at Caravaggio’s links with the collectors and artists, and also the poets and scholars of his time—links that have never been highlighted in an exhibition.
The exhibition will initially focus on life in Rome at the beginning of the seventeenth century, by looking at the artistic activity in the major workshops, in which Caravaggio began his career. It was during this period that Caravaggio met various figures who were to play a key role in his career: Marchese Giustiniani (1564–1637) and Cardinal Francesco Maria del Monte (1549–1627). They became Caravaggio’s foremost patrons and he received many prestigious commissions from them. After looking at Caravaggio’s friends and supporters, the exhibition will focus on his enemies and rivals who were also part of the art scene in Rome at the time. Caravaggio—the painter did not want other artists to imitate his style, but this did in fact occur—sometimes clashed with his confrères during discussions, lawsuits, and even brawls.
His career in Rome ended in 1606, when Caravaggio killed Ranuccio Tomassoni during a heated discussion. Condemned to death after this fatal brawl, Caravaggio fled into exile but his most loyal patrons continued to take an interest in his work.
Santa Maria del Popolo es una basílica de Roma, situada en la Piazza del Popolo, junto a una de las antiguas puertas de la ciudad. Pertenece desde 1250 a los agustinos.La primera edificación fue una simple capilla construida por orden del papa Pascual II sobre el mismo lugar donde Nerón fue sepultado. Seguramente el papa quiso celebrar con esta iglesia la liberación del Santo Sepulcro que tuvo lugar el mismo año de su fundación, 1099. Las obras fueron costeadas por el pueblo romano, de ahí el nombre que recibió la iglesia desde sus orígenes y la advocación del icono posterior (siglo XIII, de inspiración bizantina) que preside el altar mayor y cuya autoría se atribuía al evangelista San Lucas, aunque a veces se atribuye el topónimo a la abundancia de chopos (en italiano: pioppi) en este lugar. La capilla fue ampliada en 1227 por el papa Gregorio IX, pero será en el siglo XV (bajo el impulso de Sixto IV) cuando se realicen las intervenciones arquitectónicas que determinan la configuración actual del templo. Giorgio Vasari atribuyó estas obras al arquitecto Baccio Pontelli, pero la historiografía contemporánea rechaza su autoría y tiende a pensar que fue Andrea Bregno quien las diseñó y ejecutó, dando al edificio un aspecto renacentista. En cualquier caso, no hay certeza absoluta sobre los autores de la arquitectura ni de la fachada (esta última también modificada por Bernini en el siglo XVII).
El templo formaba parte de un convento agustino. La arquitectura de todo el conjunto se acomodaba al espíritu de sobriedad de los agustinos, como se evidencia en la fachada.
La iglesia tiene tres naves con transepto y un muy desarrollado ábside (donde está el coro conventual). Está cubierta con bóvedas de crucería sobre pilares con semicolumnas adosadas, siguiendo el modelo de las iglesias lombardas del siglo XV que, a su vez, se inspiran en la tradición gótica de la zona. Hay cuatro capillas poligonales en cada nave lateral y dos más flanqueando el presbiterio.
En el siglo XVI Donato Bramante y Rafael Sanzio hacen nuevas obras (el primero, el coro absidial; Rafael, la capilla del banquero Agostino Chigi). En el XVII Alejandro VII decidió reformar de nuevo la iglesia y fue Gian Lorenzo Bernini el encargado de conferir a la decoración interior del templo el aspecto barroco actual. En ese mismo siglo, Carlo Fontana reforma una capilla (la cappella Cybo) e imita la obra de Rafael en la capella Chigi.
A principios del siglo XIX se acometió un ambicioso programa urbanístico que remodeló por completo la Piazza del Popolo y al Pincio y que afectó a la iglesia: las dependencias conventuales del siglo XV fueron destruidas entre 1811 y 1813 (el edificio actual es una reconstrucción del arquitecto Valadier). En tal convento fue donde se hospedó Martín Lutero durante su estancia en Italia en sus años de juventud.
En la iglesia se conservan obras artísticas extraordinarias: así, la Natividad (hacia 1490) de Tiberio d'Assisi o la tumba de los cardenales Della Rovere del escultor Andrea Bregno en la primera capilla de la nave derecha; el sepulcro del obispo Pietro Foscari (con escultura de bronce de Vecchietta) en la capila Costa (cuarta de la nave derecha). En la capilla Cerasi se conservan dos obras maestras de Caravaggio: la Conversión de San Pablo y la Crucifixión de San Pedro; y también otro excelente óleo de Annibale Carracci, la Asunción de la Virgen. En la cuarta capilla de la nave izquierda está la obra maestra del escultor Alessandro Algardi: el busto del cardenal Garcia Mellini (hacia 1630).
En la sacristía se conservan restos escultóricos del convento destruido y el antiguo altar mayor del templo, importante obra en mármol de Andrea Bregno de 1473, en el que integra una virgen anterior de la escuela sienesa (siglo XIV).
Domenichino (Domenico Zampieri, Bologna 21 Ottobre 1581-Napoli 6 Aprile 1641))
“Paesaggio con scena di caccia nel bosco”
Olio su Tavola
Collezione privata
Opera giovanile di incantevole e squisita fattura con cui il Domenichino rappresenta con fresca e geniale intuizione il contadino con l’asino in lontananza nei campi, mentre più a monte, con grafia sottile, le gabbie e i richiami vicini alle reti per l’uccellagione, spiati dai curiosi nascosti dietro le fronde.
Poco distanti, avulsi dalla frenetica eccitazione del momento, pensa invece due amant sedutii, teneramente persi tra le note di amorosi stornelli.
La composizione, che semplifica la capacità del Domenichino di organizzare lo spazio secondo una formula di puro stampo classicista, propone una gustosa scena di genere in collina, tra le grandi quinte arboree di un paesaggio boscoso, che si apre in modo graduale e armonioso, alle vedute dei campi coltivati che digradano per piani di colore, dolcemente più a valle, fino alle porte della città di Bologna, contornata di un rosso monocromo sullo sfondo.
Domenichino compie l’esecuzione ancora sotto lo stretto influsso di Annibale Carracci, come indica il confronto con le celebri Lunette Aldobrandini, probabilmente tra il 1605 e il 1607 quando entrò in contatto con il letterato e teorico Giovanni Battista Agucchi, per il quale, secondo il Mancini, Domenichino eseguì alcuni paesaggi di grande fascino e perfezione.
Anche questo capolavoro, come altre opere del Domenichino, è un meraviglioso esempio di quella paesaggistica ‘ideale’ espressa con tal vigore da segnare il passaggio dalla sofisticata paesistica manierista di impostazione elegante e neocortese di Niccolò dell'Abate al nuovo modo di rappresentare gli aspetti naturalistici, dove le piccole figure appena abbozzate, dipinte con delicatezza e sensibilità, pur sovrastate dalla grandezza della natura, risaltano per gli effetti di luce e richiamano la lezione paesaggistica fiamminga molto prossima ai modi di Paul Bril.
Stilisticamente può essere considerato il preludio al "Paesaggio con Guado' oggi conservato nella Galleria Doria Pamphili di Roma.
Domenichino (Domenico Zampieri, Bologna 1581 – Naples 1641)
“Landscape with Hunting Scene in the Woods”
oil on panel
Private Collection
In his vita of the painter, Bellori noted the particular talent that Domenichino demonstrated for the depiction of landscape:
“Domenico was highly studied in his representation of landscapes and prospects, with his choices and with the appropriateness of his views, drawing and painting them with a superior genius, and he made jokes in these [paintings] with the usual depictions of his figures."
The composition, which simplifies the ability of Domenichino to organize the space according to a formula of pure classicist style, proposes a tasty genre scene in the hills, between the large arboreal wings of a wooded landscape, which opens gradually and harmoniously, to views of the cultivated fields that slope down by color plans, gently further downstream, to the gates of the city of Bologna, sketched with a monochrome red on the background.
Domenichino performs again under the strict influence of Annibale Carracci, as the comparison with the famous Lunette Aldobrandini indicates, probably between 1605 and 1607 when he came into contact with the writer and theoretician Giovanni Battista Agucchi, for whom, according to the Mancini, Domenichino executed some landscapes of great charm and perfection.
Also this masterpiece, like other works by Domenichino, is a marvelous example of the 'ideal' landscape expressed with such force as to mark the passage from the sophisticated Mannerist landscape of elegant and neo-courteous scene by Niccolò dell'Abate to the new way of representing the naturalistic aspects , where the small figures just sketched, painted with delicacy and sensitivity, despite overwhelmed by the greatness of nature, stand out for the effects of light and recall the Flemish landscape near the style of Paul Bril.
Dominiquin (Domenico Zampieri, né le 21 octobre 1581 à Bologne, mort le 15 avril 1641 à Naples)
"Paysage avec scène de chasse dans les Bois".
huile sur panneau,
Collection particulière.
La composition, qui simplifie la capacité du Dominiquin à organiser l’espace selon une formule purement classiciste, propose une scène de genre savoureuse dans les collines, entre les grandes ailes arborées d’un paysage boisé, qui s’ouvre progressivement et harmonieusement à les vues sur les champs cultivés qui descendent, dans plans de couleur, doucement plus loin vers l'aval, jusqu'aux portes de la ville de Bologne, entourées d'un rouge monochrome en arrière-plan.
Ce tableau esquissé doit être considéré comme un oeuvre de jeunesse du Dominiquin, qui prélude déjà stylistiquement au “Paysage avec Gué” maintenant conservé dans la Galerie Doria Pamphili de Rome.
This is a part of the series I am doing for a book about the decades of the Rosary. Scourging at the Pillar is the 2nd Sorrowful Mystery. The original work of art is by Ludovico (or Lodovico) Carracci (21 April 1555 – 13 November 1619) who was an Italian, early-Baroque painter, etcher, and printmaker born in Bologna. His works are characterized by a strong mood invoked by broad gestures and flickering light that create spiritual emotion and are credited with reinvigorating Italian art, especially fresco art, which was subsumed with formalistic Mannerism. He died in Bologna in 1619. To his work I have added blend modes, vector art, textures, masks, textures, and text.