View allAll Photos Tagged Carracci,
‘The Adoration of the Shepherds with Saint Catherine of Alexandria’ Cigoli (Ludovico Cardi) Italian, Florentine, 1559-1613
Oil on canvas
Signed, dated, and inscribed: (lower right) LC [monogram] / 1599; (top, on banderole)
GLORIA IN EXCELSIS DEO
An artist of considerable intellectual accomplishment and a friend of Galileo, Cigoli was the key artist in Florence in the late sixteenth century. Like his contemporaries, Ludovico and Annibale Carracci in Bologna and Caravaggio in Rome, he rebelled against the then current Mannerist style, emphasizing the study of nature together with the work of the masters of the High Renaissance.
‘The Adoration of the Shepherds’ was painted at the height of Cigoli’s career and introduces into Florentine painting the emotional warmth of Barocci’s finest work, the fused color of the late Titian, and details taken directly from nature, such as the still life around the Christ Child and the rustic figures at the right.
Gwynne Andrews Fund, 1991 1991.7
From the Placard, Metropolitan Museum of Art
But this Spring (until late April), the building which has long been used as the French Embassy, is partly open because the ambassador did a bit of imaginative PR and has opened its treasures to the public for the first time.... and brought back a few of the Farnese treasures from Naples and the Louvre to allow people to see them in their original location, along with Rome's 2nd best ceiling and its Carracci frescoes: www.mostrapalazzofarnese.it/it/index.html (I had to check in my camera at the on going through the considerable entrance security sp no photos of the magnificent exhibition or even the garden, amazing grand staircase or internal courtyard).
The Tempio della Beata Vergine della Ghiara(Temple of the Blessed Virgin of Ghiara), also known as Basilica della Madonna della Ghiara is a church in Reggio Emilia, northern Italy. The building is the property of the comune (municipality) of the city.
The church was built in response to an alleged miracle associated with a local votive image of the Madonna which had occurred in the year 1596. The place soon became the goal of pilgrimages and, thanks to the offerings of the faithful, it was possible to construct a new temple to contain a painting that was a replica of the original.
The cornerstone was laid on June 6, 1597 by the bishop Claudio Rangone, in the presence of Duke Alfonso II d'Este and Duchess Margherita Gonzaga. Part of the former convent and church were demolished in order to make way for the new structure. The plan was by the local architect and sculptor Francesco Pacchioni, who also designed the dome and the interior stuccoes. The church was consecrated on May 12, 1619.
The interior is in Late Renaissance style, with rich decorations in gold, marbles, as well as large frescoes of the Carracci school covering the domes and the vaults. These depicts stories of women of the Old Testament. The ceiling painted by Alessandro Tiarini is considered his masterwork. The dome frescoes are by Lionello Spada (1616). Other works in the church are by Lelio Orsi and Giovanni Battista Magnani.
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.
John Constable, RA (/ˈkʌnstəbəl, ˈkɒn-/; 11 June 1776 – 31 March 1837) was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home — now known as "Constable Country" — which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling".
His most famous paintings include Wivenhoe Park of 1816,Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art, Constable was never financially successful. He did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. His work was embraced in France, where he sold more works than in his native England and inspired the Barbizon school.
John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann (Watts) Constable. His father was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill in Essex. Golding Constable owned a small ship, The Telegraph, which he moored at Mistley on the Stour estuary, and used to transport corn to London. He was a cousin of the London tea merchant, Abram Newman. Although Constable was his parents' second son, his older brother was intellectually disabled and John was expected to succeed his father in the business. After a brief period at a boarding school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the corn business after leaving school, but his younger brother Abram eventually took over the running of the mills.
In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk and Essex countryside, which was to become the subject of a large proportion of his art. These scenes, in his own words, "made me a painter, and I am grateful"; "the sound of water escaping from mill dams etc., willows, old rotten planks, slimy posts, and brickwork, I love such things." He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain, which inspired Constable. Later, while visiting relatives in Middlesex, he was introduced to the professional artist John Thomas Smith, who advised him on painting but also urged him to remain in his father's business rather than take up art professionally.
In 1799, Constable persuaded his father to let him pursue a career in art, and Golding granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections, and studied and copied old masters. Among works that particularly inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci and Jacob van Ruisdael. He also read widely among poetry and sermons, and later proved a notably articulate artist.
Lodovico Carracci wurde 1555 in Bologna geboren und starb dort 1619. Er arbeitete in Bologna mit seinen Vettern Agostino und Annibale Carracci zusammen, mit denen er die Accademia degli Incamminati (auch Accademia Carracci genannt) gründete, die sich gegen den damals vorherrschenden gekünstelten Manierismus wendete.
Das Bildnis in der Galleria Barberini zeigt eine ältere Dame in recht schonungsloser und realistischer Weise.
The Basilica di San Prospero. Built in the 10th century and dedicated to Prosper of Reggio, a bishop of the city, it was reconstructed by Luca Corti and Matteo Fiorentini between 1514 and 1523.
The interior of the church has a Latin cross plant, with three naves. The apse houses the splendid Last Judgement, frescoed by the Bolognese artist Camillo Procaccini. Also noteworthy are the wood choir from 1546 and the Assumption altarpiece by Tommaso Laureti and Ludovico Carracci (1602).
Pulcinella, often called Punch or Punchinello in English, Polichinelle in French, is a classical character that originated in the Commedia dell'arte of the 17th century and became a stock character in Neapolitan puppetry. His main characteristic, from which he acquired his name, is his extremely long nose, which resembles a beak. In Latin, this was a pullus gallinaceus, which led to the word "Pulliciniello" and "Pulcinella", related to the Italian pulcino or chick. According to another version, "Pulcinella" derived from the name of Puccio d'Aniello, a peasant of Acerra, who was portrayed in a famous picture attribued to Annibale Carracci, and indeed characterized by a long nose. It has also been suggested that the figure is a caricature of a sufferer of acromegaly.[1]
He usually wears a black mask and long white coat, and has loose and straggly hair. According to Duchartre, his traditional temprement is to be mean, vicious, and crafty: his main mode of defense is to pretend to be too stupid to know what's going on, and his secondary mode is to physically beat people.
Lodovico Carracci (?)
Bologna 1555–1619 Bologna
Der hl. Sebastian.
Inv.-Nr. G 1385
Museum der bildenden Künste
Leipzig
‘The Adoration of the Shepherds with Saint Catherine of Alexandria’ Cigoli (Ludovico Cardi) Italian, Florentine, 1559-1613
Oil on canvas
Signed, dated, and inscribed: (lower right) LC [monogram] / 1599; (top, on banderole)
GLORIA IN EXCELSIS DEO
An artist of considerable intellectual accomplishment and a friend of Galileo, Cigoli was the key artist in Florence in the late sixteenth century. Like his contemporaries, Ludovico and Annibale Carracci in Bologna and Caravaggio in Rome, he rebelled against the then current Mannerist style, emphasizing the study of nature together with the work of the masters of the High Renaissance.
‘The Adoration of the Shepherds’ was painted at the height of Cigoli’s career and introduces into Florentine painting the emotional warmth of Barocci’s finest work, the fused color of the late Titian, and details taken directly from nature, such as the still life around the Christ Child and the rustic figures at the right.
Gwynne Andrews Fund, 1991 1991.7
From the Placard, Metropolitan Museum of Art
poster nr. 5398/2010 interactive with Louisa Catharine Forsyth of Bagaceous fashion new York London Milano www.bagaceous. com , answering to Erwin Schrodinger 1944 question: WHAT IS LIFE? whatislife.style.it
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.
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
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.
The Basilica di San Prospero. Built in the 10th century and dedicated to Prosper of Reggio, a bishop of the city, it was reconstructed by Luca Corti and Matteo Fiorentini between 1514 and 1523. The façade, with eleven statues of saints and patrones, was redesigned by Giovan Battista Cattani in mid-18th century. It includes a pleasant belfry/tower, begun in 1535 and never quite finished, with an octagonal plant. The interior of the church has a Latin cross plant, with three naves. The apse houses the splendid Last Judgement, frescoed by the Bolognese artist Camillo Procaccini. Also noteworthy are the wood choir from 1546 and the Assumption altarpiece by Tommaso Laureti and Ludovico Carracci (1602).
Pen and ink on paper; 27 x 16.8 cm.
Agostino Carracci, (b. 1557, Bologna [Italy]—d. Feb. 23, 1602, Parma), Italian painter and printmaker whose prints after paintings by Federico Barocci, Tintoretto, and Titian circulated widely throughout Europe and were appreciated by Rembrandt, among other artists.
Agostino was the older brother of the painter Annibale Carracci, with whom he traveled in northern Italy, visiting Venice and Parma. Agostino’s early work demonstrates the influence of the Venetian painters Tintoretto and Paolo Veronese. He subsequently followed the lead of his brother Annibale, whom he helped decorate the Galleria of the Palazzo Farnese in Rome from 1597 to 1599. In the latter year Agostino left Annibale to serve as court painter for Ranuccio Farnese in Parma; he died there without completing his own major endeavour in fresco, the decoration of a room in the Palazzo del Giardino. Agostino’s painterly style was drier and less proficient than that of his brother. Engraving formed a major part of his output from 1580, however.
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.
Annibale Carracci (1560-1609)
The Assumption (1600-1601)
Cerasi Chapel, Santa Maria del Popolo, Rome
Tiberio Cerasi, treasurer to Pope Clement VII, comissioned the altarpiece by Annibale Carracci in the family chapel in Santa Maria del Popolo.
The Basilica di San Prospero. Built in the 10th century and dedicated to Prosper of Reggio, a bishop of the city, it was reconstructed by Luca Corti and Matteo Fiorentini between 1514 and 1523. The façade, with eleven statues of saints and patrones, was redesigned by Giovan Battista Cattani in mid-18th century. It includes a pleasant belfry/tower, begun in 1535 and never quite finished, with an octagonal plant. The interior of the church has a Latin cross plant, with three naves. The apse houses the splendid Last Judgement, frescoed by the Bolognese artist Camillo Procaccini. Also noteworthy are the wood choir from 1546 and the Assumption altarpiece by Tommaso Laureti and Ludovico Carracci (1602).
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.
Musée du Louvre, Paris, France. Domenico Zampieri: Le Triomphe de l'Amour.
Wikipedia: Domenico Zampieri (or Domenichino; October 21, 1581 – April 6, 1641) was an Italian Baroque painter of the Bolognese School, or Carracci School, of painters.
His work represents what would become known as classic-idealist art, which aims to surpass the imperfections of nature by developing an "Idea of Beauty" (idea del bello) through the study and imitation of the best examples of ancient and Renaissance art.
Lodovico Carracci, Bologna 1555- 1619
Verkündigung - Annunciation - Annunziazione
Lodovico arbeitete in Bologna mit seinen Vettern Agostino und Annibale Carracci zusammen, mit denen er die Accademia degli Incamminati (auch Accademia Carracci genannt) gründete, die sich gegen den damals vorherrschenden gekünstelten Manierismus wendete.
Previously attributed to Jusepe De Ribera (1591-1652)
Saint John the Baptist in the Wilderness c.1620-52.
"Description
When St John the Baptist in the Wilderness was acquired by Charles II from the Breda picture dealer William Frizell in 1660, it was given to Spanish artist Jusepe de Ribera (1591-1652). This attribution persisted until the twentieth century, when it was called into question.
During the course of his career, Ribera painted as many as eight works depicting Saint John in the wilderness, with several other known versions regarded as contemporary copies. The theme was also reworked several times by Caravaggio, who created new iconographic models for the subject, which were adopted by followers including Ribera.
The image of John the Baptist in the wilderness is based on a statement in the Gospel of Luke (1:80) that 'the child grew and was strengthened in spirit, and was in the deserts until the day of his manifestation to Israel'. Revered in the Church as a forerunner of Christ, John the Baptist was frequently shown in Christian art, identifiable by his bowl, reed cross, camel's skin and lamb. Before the Catholic Counter-Reformation, the most commonly depicted scenes were John's baptism of Jesus, or the infant Baptist together with the infant Jesus, sometimes shown with the Virgin and the John's mother, St Elizabeth. St John alone in the desert was less prevalent, but not unknown before Caravaggio; however, the success of his treatment of this subject made it the most popular image of St John in seventeenth century art, particularly in Spain and Italy.
Ribera was born in Játiva, near Valencia in 1591. The son of a shoemaker; little is known of his early life and career. Documentary evidence indicates that he spent some time in Valencia before travelling to Italy and may possibly have been apprenticed to the studio of Francisco Ribalta. By 1611 Ribera had established himself in Parma, executing a now lost altar piece for a member of the ducal Farnese family. He is believed to have left Parma for Rome between 1611 and 1613, travelling by way of Bologna where he took inspiration from the work of the Carracci. Ribera remained in Rome for a number of years and is known to have associated with other Caravaggisti working in Rome. In 1616 Ribera travelled to Naples, where he would remain for the rest of his life. During the early seventeenth century, Naples was controlled by a succession of Spanish viceroys and Ribera enjoyed the patronage of the small Spanish ruling class and Flemish merchant community, as well as the Italian nobility passing through Naples. Ribera died in Naples in 1652. Although he never returned to Spain, Ribera's works were known through etchings and those paintings taken back by his Spanish patron in Naples, and his influence is visible in the work of Velázquez, Murillo and many other Spanish painters of mid-seventeenth century.
Most paintings of St John in the Wilderness given to Ribera show the saint in full-length, as for example the signed and dated work of 1638 in the Real Monastero de la Encarnacio, Madrid (see Spinosa, no. A237). The Royal Collection's St John in the Wilderness employs a closer composition similar to that of the painting attributed to Ribera and dated to the late1630s, now in the Palacio Ayunamiento, Valladolid (Spinosa A216); however, the smoothness and rigorous tenebrism would suggest a date closer to 1620. In the Royal Collection painting, the adolescent Saint John the Baptist is shown in three-quarter length, set before a rocky background on the left, opening up to a luminous sky on the right. In his left hand he holds a reed cross, while with his right he fondles the lamb, symbolic of Christ. The enigmatic smile of the Baptist in this painting is similar to that proffered by Ribera's St John in works at the North Carolina Museum of Art (Inv. No. 52.9.183) and the Museo del Prado, Madrid (Inv. No. P001108), and presumably finds its origins in the painting by Leonardo (Louvre).
Areas of historic damage and over-painting make it difficult to definitively attribute the Royal Colelction painting. In 1948, the authority on Spanish art Martin Soria suggested the picture might be the work of Ribera's follower Luca Giordano (1634-1705). If so, the date of acquisition by Charles II would make the painting among the earliest of Giordano's known works, before his move in the late 1650s away from the dramatic chiaroscuro and powerful naturalism of Ribera. One known painting of the subject by Giordano of approximately this date survives in the National Art Museum, Lithuania (ČDM Mt 1544), though the handling of paint differs notably from the smooth chiaroscuro of the Royal Collection picture.
Provenance
Acquired by Charles II from William Frizell in Breda, 1660 for 500 florins.
Charles II 1666, Hampton Court Palace, In Paradise, No. 75; James II, 1688, Hapton Court Palace, King's Dressing Room next Parradice [sic], No.909/44; Queen Anne, c.1705-10, Somerset House, in store from Kensington, No. 27; George II, 1732, Kensington, Great Drawing Room; George II, 1736, Kensington Palace, Queen's Dressing Room;; George III, 1819, Buckingham House, The Queens Drawing Room, No.559; William IV, 1835, Hampton Court, The Queen's Audience Chamber, No. 428; Queen Victoria, 1861, Hampton Court, Prince of Wales Chamber, No. 559; Queen Victoria, Hampton Court,1866; Queen Victoria, 1898, Hampton Court Palace, No.166, George V, 1929, Hampton Court Palace, 166." Royal Collection Trust website. www.rct.uk/collection/search#/54/collection/402883/saint-...
(1560 - 1609)
Marbre
H. : 0,70 m.
Copie du buste réalisé par Paolo Naldini (Rome, 1614 - 1691) pour décorer le monument conçu par Carlo Maratta, à l'instigation de Bellori, pour célébrer la mémoire du peintre (Rome, Panthéon). Le buste et son pendant se trouvaient en 1722 au château de Meudon.
Anciennes collections royales
Département des Sculptures
Se sabe poco de los primeros años de ter Brugghen; puede que naciera en La Haya, pero su familia parece que se había trasladado de la muy católica Utrecht a principios de los años 1590. Aquí comenzó a pintar a la edad de trece años, estudiando con Abraham Bloemaert. De Bloemaert, un pintor de historia manierista, aprendió los elementos básicos de su arte. Alrededor de 1604, sin embargo, ter Brugghen viajó a Italia para ampliar sus conocimientos, un movimiento bastante inusual para los pintores holandeses de la época. Estuvo en Roma en 1604, y pudo por lo tanto haber entrado en contacto directo con Caravaggio (quien huyó de la ciudad en 1606 por estar acusado de asesinato). Ciertamente estudió su obra, así como la de sus seguidores, los caravagistas italianoscomo Orazio Gentileschi. La obra de Caravaggio había causado sensación en Italia. Sus cuadros tenían como característica una marcada técnica de claroscuro, el contraste producido por superficies claras y brillantes junto a otras secciones sombrías y oscuros, pero también por el realismo social de sus modelos, a veces encantadores, a veces chocantes, y otras directamente vulgares. Otros pintores italianos que influyeron en ter Brugghen durante su estancia en Italia fueron Annibale Carracci, Domenichino y Guido Reni.
Al regresar a Utrecht, trabajó con Gerrit van Honthorst, otro caravagista holandés. Ter Brugghen murió en Utrecht en 1629.
Source : www.ambafrance-it.org/IMG/jpg/361-19_gall_carr_foto_zc_67...
Galerie Farnèse, Vue d'ensemble transversale, 1597-1602, Fresque, Rome, Palais Farnèse
property of the Slovak National Gallery
for educational purpose only
please do not use without permission
The Young Tobias heals his Blind Father (16th century) - Annibale Carracci (circle), Schloss Willemshöhe
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 painted by Fontana.
The Conversion on the Way to Damascus (Conversione di San Paolo) is a masterpiece by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of the church of Santa Maria del Popolo, in Rome. Across the chapel is a second Caravaggio painting (1600) depicting the inverted Crucifixion of St. Peter. On the altar, is a luminous and crowded Assumption of the Virgin Mary by Annibale Carracci. The dome frescoes are by one of Carracci's apprentices, under his design. The chapel was painted for Monsignor Tiberio Cerasi, who died in 1601 and had been treasurer general under Clement VIII. The commission for Caravaggio (and perhaps Carracci) was apparently secured by his newly acquired patron, Marchese Vicenzo Guistiniani.
The painting depicts the moment recounted in Chapter 9 of Acts of the Apostles when Saul, soon to be the apostle Paul, fell on the road to Damascus. He heard the Lord say "I am Jesus, whom you persecute, arise and go into the city." The Golden Legend, a compilation of medieval interpretations of biblical events may have framed the event for Caravaggio.
On this canvas, Saul is an epileptic and fractured figure, flattened by the divine flash, flinging his arms upward in a funnel. There are three figures in the painting. The commanding muscular horse dominates the canvas, yet it is oblivious to the divine light that defeated his rider's gravity. The aged groom is human, but gazes earthward, also ignorant of the moment of where God intervenes in human traffic. Only Saul, whose gravity and world has been overturned lies supine on the ground, but facing heaven, arms supplicating rescue. The groom can see his shuffling feet, and the horse can plod its hooves, measuring its steps; but both are blind to the miracle and way. They inhabit the unilluminated gloom of the upper canvas. Saul, physically blinded by the event for three days, suddenly sees the Christian message. For once, his soul can hear the voice of Jesus, asking, "Saul, Saul, why do you persecute me?" His sword and his youthful sinews are powerless against this illuminating bolt of faith.
Oil on copper, 32 x 43 cm
Fitzwilliam Museum,Cambridge
The attribution of this painting to Annibale Carracci is doubtful, recently it was attributed to Francesco Albani. This small copper is obviously related to the slightly larger canvas in the Galleria Doria-Pamphili, whose authorship by Annibale is more certain.
The theme of Mary Magdalene (sometimes "sorry"or "penitent") is one of the themes that lend themselves to the hagiographic representation and meditation on death and on the fleeting transience of life. Can often, especially in the sixteenth, seventeenth and eighteenth serve as a "vanitas".
Annibale Carracci
Italian, Bologna 1560-1609 Rome
Two Children Teasing a Cat
Oil on canvas
Painted with a directness and spontaneity that looks forward to nineteenth-century art, this picture dates from about 1590 and is among the earliest Italian genre paintings. In its handling of light it recalls the work of Paolo Veronese, which Annibale studied during a trip to Venice. A 1618 compilation of local proverbs includes the equivalent to “Let sleeping dogs lie” as well as “Don’t go poking around vipers”. This painting must illustragte a similar saying.
The Picture was well known in Bologna, where it belonged to the Ranuzzi family. Subsequently, it was owned by Cardinal Tommaso Ruffo, whose celebrated collection included Velázquez’s Juan de Pareja, also in the Metropolitan.
Purchase, Gwynne Andrews Fund, and Bequests of Collis P. Huntington and Ogden Mills, by exchange, 1994
1994.1422
From the placard: Metropolitan Museum
But this Spring (until late April), the building which has long been used as the French Embassy, is partly open because the ambassador did a bit of imaginative PR and has opened its treasures to the public for the first time.... and brought back a few of the Farnese treasures from Naples and the Louvre to allow people to see them in their original location, along with Rome's 2nd best ceiling and its Carracci frescoes: www.mostrapalazzofarnese.it/it/index.html (I had to check in my camera on going through the considerable entrance security so no photos of the magnificent exhibition or even the garden, amazing grand staircase or internal courtyard).
Pulcinella, Italian pronunciation: [pultʃiˈnɛlla]; often called Punch or Punchinello in English, Polichinelle in French, is a classical character that originated in the commedia dell'arte of the 17th century and became a stock character in Neapolitan puppetry.
His main characteristic is his extremely long nose, which resembles a beak. This gives him his name, probably from Italian pulcino ('chick'). According to another version, Pulcinella derived from the name of Puccio d'Aniello, a peasant of Acerra, who was portrayed in a famous picture attributed to Annibale Carracci, and indeed characterized by a long nose. It has also been suggested that the figure is a caricature of a sufferer of acromegaly.
Always dressed in white with a black mask (hence conciliating the opposites of life and death), he stands out thanks to his peculiar voice, whose sharp and vibrant qualities produced with a tool called a swazzle contribute intense tempo of the show. According to Pierre-Louis Duchartre, his traditional temperament is to be mean, vicious, and crafty: his main mode of defense is to pretend to be too stupid to know what's going on, and his secondary mode is to physically beat people.
Many regional variants of Pulcinella were developed as the character diffused across Europe. In Germany, Pulcinella came to be known as Kasper. In the Netherlands he is known as Jan Klaassen. In Denmark he is Mester Jakel. Russian composer Igor Stravinsky composed two different ballets entitled Pulcinella and Petrushka), inspired by him. In Romania, he is Vasilache; in Hungary he is Vitéz László, and in France Polichinelle, while in the United Kingdom he inspired the character of Mister Punch of Punch and Judy.
Pulcinella is also the mascot of the Pulcinella Awards, annual awards for excellence in animation, presented at the Cartoons on the Bay Festival in Positano, Italy. Pulcinella often carries around macaroni and a wooden spoon.
Marks of Genius: 100 Extraordinary Drawings from the Minneapolis Institute of Arts
Over its 100-year history, the Minneapolis Institute of Arts has amassed an extensive collection of works on paper. The selection of drawings, watercolors, gouaches, and pastels dating from the Middle Ages to the present day includes stellar examples by such masters as Guercino, Annibale Carracci, George Romney, François Boucher, Thomas Gainsborough, Edgar Degas, Käthe Kollwitz, Egon Schiele, Emil Nolde, Amedeo Modigliani, Henri Matisse, Alfredo Ramos Martínez, Roy Lichtenstein, and Ed Ruscha.
This eye-opening exhibition illuminates the historical and ongoing role of drawing as a means of study, observation, and problem solving, as an outpouring of the artist’s imagination, and as a method of realizing a finished work of art.
This exhibition is organized by the Minneapolis Institute of Arts.
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)