View allAll Photos Tagged Carracci,
The second Sacrifice of Isaac is housed in the Uffizi Gallery, Florence. According to the early biographer Giovanni Bellori, Caravaggio painted a version of this subject for Cardinal Maffeo Barberini, the future Pope Urban VIII and a series of payments totaling one hundred scudi were made to the artist by Barberini between May 1603 and January 1604. Caravaggio had previously painted a Portrait of Maffeo Barberini, which presumably pleased the cardinal enough for him to commission this second painting.
The artist thrusts the action to the front of the picture frame like a sculpted frieze. Old Abraham, with features reminiscent of the saint in the second St. Matthew, is intercepted in the act of slitting his son's throat by an admonishing angel who with his right hand prevents the sacrifice and with his left points to the substitute victim. Light directs the viewer to scan the scene from left to right as it picks out the angel's shoulder and left hand, the quizzical face of Abraham, the right shoulder and terrified face of Isaac and finally the docile ram. A continuous movement links the back of the angel's neck to Isaac's profile.
Caravaggio combines a hint of horror with pastoral beauty. In the foreground the sharp knife is silhouetted against the light on Isaac's arm. In the distance is one of Caravaggio's rare landscapes, a glimpse perhaps of the Alban Hills round Rome and an acknowledgement of the skill of his one serious rival, Annibale Carracci, whose landscapes were particularly admired.
Isaac has been identified as Cecco Boneri, who appeared as Caravaggio's model in several other pictures. Recent X-ray analysis showed that Caravaggio used Cecco also for the angel, and later modified the profile and the hair to hide the resemblance.
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.
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.
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."
View over Montalto Delle Marche 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 painted by Fontana.
Annibale Carracci
Italian, Bologna 1560-1609 Rome
"The Coronation of the Virgin"
after 1595
Oil on canvas
Annibale Carracci, together with Caravaggio, was the most influential
painter of the seventeenth century and the main figure in the development
of classicism. This picture was painted for Cardinal Pietro Aldobrandini
(1571-1621), shortly after Annibale's arrival in Rome in 1595. In it, Annibale brought together two currents of Italian painting: a north Italian sensitivity to the effects of natural light and color, and the spatial
organization and idealized figures associated with the Renaissance.
Raphael's frescoes in the Vatican inspired the composition, while the
figure of God the Father was based on an ancient Roman sculpture.
Purchase, Bequest of Miss Adelaide Milton de Groot (1876-1967), by exchange, and Dr. and Mrs. Manuel Porter and sons Gift, in honor of Mrs, Sarah Porter, 1971
Full title: Putto gathering Grapes
Artist: Annibale Carracci
Date made: 1597-1600
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
VATICANO ARCHEOLOGICA & RESTAURO ARCHITECTURA: Senzatetto dal Papa nella Cappella Sistina: ''Che genio Michelangelo!'' LA REPUBBLICA | VIDEO (26|03|2015). [02:27]. & L'OSSERVATORE ROMANO (24|03|2015).
(LA) « Tu es Petrus, et super hanc petram aedificabo Ecclesiam meam et tibi dabo claves regni Coelorum. »
(IT)« Tu sei Pietro, e su questa pietra edificherò la mia Chiesa e a te darò le chiavi del Regno dei Cieli. »
1). VATICANO - Senzatetto dal Papa nella Cappella Sistina: ''Che genio Michelangelo!'' Un'occasione speciale per 150 persone indigenti che hanno potuto visitare i Musei Vaticani e salutare papa Francesco che, a sorpresa, ha voluto incontrarli nella Cappella Sistina, LA REPUBBLICA | VIDEO (26|03|2015). [02:27].
FONTE | SOURCE:
-- LA REPUBBLICA | VIDEO (26|03|2015). [02:27].
video.repubblica.it/mondo/senzatetto-dal-papa-nella-cappe...
2). VATICAN, ROME: Doors open to the Vatican Museums for 150 homeless people, L'OSSERVATORE ROMANO (24|03|2015).
A special visit to the Vatican Museums and the Sistine Chapel for some 150 homeless people has been organized by the Office of Papal Charities. Led by Archbishop Konrad Krajewski, on Thursday, 26 March, the poor, who usually see only the steps outside the colonnade of St Peter's Square, will also have a chance to enjoy the Vatican's artistic patrimony. The visit is scheduled for the early afternoon: these guests will enter the Vatican through the Petriano entrance where they will be divided into three groups, each one will be entrusted to a guide. Before entering the Museums these groups will enjoy a privileged tour inside Vatican City State, passing the Domus Sanctae Marthae, behind St Peter's Basilica, through the piazzale della Zecca, the main path of the Gardens and the Cancello di Gregogio.
FONTE | SOURCE:
-- VATICAN, L'OSSERVATORE ROMANO (24|03|2015).
www.osservatoreromano.va/en/news/doors-open-vatican-museu...
FOTO | FONTE | SOURCE:
-- ROMA VATICANO - RESTAURO ARCHITETTURA e ARCHEOLOGIA: San Pietro Apostolo, il primo architetto post-romana di Roma? (2-4 a.D., - c. 67 a.D.) | Domine, quo vadis?, di Annibale Carracci (1601-1602), Londra, National Gallery (2014).
Archway typical of the city
Für die Stadt typischer Bogengang.
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)
Source : www.wikipaintings.org/en/annibale-carracci/portrait-of-an...
Autoportrait, Annibal Carrache, Dessin, Biblioteca Marucelliana
Mais aussi : lesommeildendymion.wordpress.com/biographie-de-carrache/
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.
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.
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.
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.
VATICANO ARCHEOLOGICA & RESTAURO ARCHITECTURA: Senzatetto dal Papa nella Cappella Sistina: ''Che genio Michelangelo!'' LA REPUBBLICA | VIDEO (26|03|2015). [02:27]. & L'OSSERVATORE ROMANO (24|03|2015).
(LA) « Tu es Petrus, et super hanc petram aedificabo Ecclesiam meam et tibi dabo claves regni Coelorum. »
(IT)« Tu sei Pietro, e su questa pietra edificherò la mia Chiesa e a te darò le chiavi del Regno dei Cieli. »
1). VATICANO - Senzatetto dal Papa nella Cappella Sistina: ''Che genio Michelangelo!'' Un'occasione speciale per 150 persone indigenti che hanno potuto visitare i Musei Vaticani e salutare papa Francesco che, a sorpresa, ha voluto incontrarli nella Cappella Sistina, LA REPUBBLICA | VIDEO (26|03|2015). [02:27].
FONTE | SOURCE:
-- LA REPUBBLICA | VIDEO (26|03|2015). [02:27].
video.repubblica.it/mondo/senzatetto-dal-papa-nella-cappe...
2). VATICAN, ROME: Doors open to the Vatican Museums for 150 homeless people, L'OSSERVATORE ROMANO (24|03|2015).
A special visit to the Vatican Museums and the Sistine Chapel for some 150 homeless people has been organized by the Office of Papal Charities. Led by Archbishop Konrad Krajewski, on Thursday, 26 March, the poor, who usually see only the steps outside the colonnade of St Peter's Square, will also have a chance to enjoy the Vatican's artistic patrimony. The visit is scheduled for the early afternoon: these guests will enter the Vatican through the Petriano entrance where they will be divided into three groups, each one will be entrusted to a guide. Before entering the Museums these groups will enjoy a privileged tour inside Vatican City State, passing the Domus Sanctae Marthae, behind St Peter's Basilica, through the piazzale della Zecca, the main path of the Gardens and the Cancello di Gregogio.
FONTE | SOURCE:
-- VATICAN, L'OSSERVATORE ROMANO (24|03|2015).
www.osservatoreromano.va/en/news/doors-open-vatican-museu...
FOTO | FONTE | SOURCE:
-- ROMA VATICANO - RESTAURO ARCHITETTURA e ARCHEOLOGIA: San Pietro Apostolo, il primo architetto post-romana di Roma? (2-4 a.D., - c. 67 a.D.) | Domine, quo vadis?, di Annibale Carracci (1601-1602), Londra, National Gallery (2014).
More Rome Aug 2011
Last day in Rome!
Palazzo Farnese is a High Renaissance palace in Rome, which currently houses the French embassy and the Ecole Française de Rome (the French Historical Roman Institute).
First designed in 1517 for the Farnese family, the palace building expanded in size and conception when Alessandro Farnese became Pope Paul III in 1534, to designs by Antonio da Sangallo the Younger, its building history involved some of the most prominent Italian architects of the 16th century, including Antonio da Sangallo the Younger, Michelangelo, Jacopo Barozzi da Vignola and Giacomo della Porta.
At the end of the 16th century, the important fresco cycle of The Loves of the Gods in the Farnese Gallery was carried out by the Bolognese painter Annibale Carracci, marking the beginning of two divergent trends in painting during the 17th century, the Roman High Baroque and Classicism. The famous Farnese sculpture collection, now in the National Archeological Museum of Naples, as well as other Farnese collections, now mostly in Capodimonte Museum in Naples, were accommodated in the palace.
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.
El año 1604 Carracci recibió el encargo del noble español Juan Enríquez Herrera, que desde 1602 era propietario de una capilla en la iglesia de San Giacomo degli Spagnoli, situada en la Piazza Navona, su espacio lo ocupa ahora la conocida como Nuestra Señora del Sagrado Corazón. Juan Enríquez Herrera había mandado construir su capilla al arquitecto Flaminio Ponzio, con labores de estuco del escultor lombardo Ambrogio Buonvicino.
La capilla Herrera -la primera de mano izquierda según fuentes de la época- estaba dedicada a San Diego de Alcalá, lego franciscano al que se le atribuían curaciones milagrosas, como la del infante don Carlos y el hijo de Herrera. Don Carlos, primogénito de Felipe II y Mª Manuela de Portugal, sobrevivió al nacer falleciendo su madre. De ahí surgió la devoción de Felipe II hacia San Diego de Alcalá, llevándola al punto de pedir al Papa Sixto V que lo canonizara. Éste lo hizo en 1588. O la curación del propio hijo de Herrera, quién en muestra de gratitud al santo, encargó a Annibale Carracci la decoración de la capilla con escenas de su vida.
En la capilla Herrera intervinieron junto a Annibale algunos colaboradores suyos: Francesco Albani, Giovanni Lanfranco y Sisto Badalocchio.
Los frescos conservados en el MNAC (los restantes se encuentra en el Museo del Prado) tendrían la siguiente disposición:
1.Dios Padre centraba la bóveda.
2.En los muros laterales de la capilla había dos grandes escenas rectangulares que trataban de la curación de un joven ciego y el milagro de las rosas. Sobre estas escenas, las lunetas con los temas predicación de san Diego y la aparición del santo encima de su sepulcro a peregrinos y enfermos respectivamente.
3.A los lados del altar, las representaciones de los apóstoles Pedro y Pablo.
4.En las paredes exteriores de la capilla, sobre el arco de ingreso a la misma, la Asunción de la Virgen y los apóstoles rodeando el sepulcro, en marcos separados.
Según diversas fuentes documentales, las pinturas de la capilla Herrera sufrieron ya una restauración a mediados del siglo XVIII, efectuada por Sebastiano Conca. Un siglo más tarde, la iglesia quedó totalmente abandonada y los frescos sufrieron pérdidas irrecuperables. La pérdida total de las pinturas se hubiera llevado a cabo si no fuera por la oportuna intervención de Antonio Solà, escultor catalán residente en Roma desde 1802 que tomó la iniciativa de encargar a los especialistas Pelegrino y Domenico Succi que, bajo su dirección, procedieran a arrancar los frescos trasladándolos a un soporte de tela, hacia 1842.
_________________________________________
La escena representa un episodio común, muy frecuente en las leyendas de las vidas de los santos. Se refiere a cuando san Diego estaba al cuidado de la portería y "le reparo el guardia un día mas que lo ordinario por el bulto en las mangas, y en el hábito, extrañado porque ya había llevado los panes que se daban para la portería comenzó a reprenderle. Entonces san Diego le respondió al Guardia: regístreme vuestra paternidad las mangas los enfaldos y hallará que solo llevo unas rosas, convirtiéndose en aquel instante en rosas los panecillos que llevaba".
Annibale Carracci (1560-1609)
Coronation of the Virgin (after 1595)
New York, Metropolitan Museum of Art
View over Montalto Delle Marche 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 painted by Fontana.
Painted in about 1582, this astonishing picture is a landmark of the Carracci reform of painting. The figure of Christ, based on a posed model, has been painted with a directness and lack of idealization that sixteenth century critics found shocking. The figures of the Virgin, the three Maries, and Saint John are notably stylized by comparison with Christ and give the composition a jarring note. Experimentation with the means of representation rather than an abstract sense of harmony and beauty characterizes Ludovico's work at this stage. This innovative work belonged to Alessandro Tanari, papal treasurer in Bologna. At the time of his death in 1639 he owned eleven works by Ludovico.
In the Metropolitan Museum of Art, New York.
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.
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.
The Postcard
A châtelet is a small château next to the main building, where the château administrator , or châtelain (châtelaine if it were a woman) usually lived.
Château de Chantilly
The Château de Chantilly is a historic French château located in the town of Chantilly, Oise, about 50 kilometres (30 miles) north of Paris.
The town derives its name from Cantilius, a Gallo-Roman, who built the first villa there. The château is on a small rocky island in an artificial lake.
The site comprises two attached buildings: the Petit Château, built around 1560 for Anne de Montmorency, and the Grand Château, which was destroyed during the French Revolution and rebuilt in the 1870's.
It is owned by the Institut de France, which received it from Henri d'Orléans, Duke of Aumale.
A historic monument since 1988, it is open to the public. The château's art gallery, the Musée Condé, houses one of France's finest collections of paintings. It specialises in French paintings and book illuminations of the 15th. and 16th. centuries.
History of the Château de Chantilly
-- Original Construction
The estate's connection with the Montmorency family began in 1484. The first mansion (no longer in existence, now replaced by the Grand Château) was built between 1528 and 1531 for Anne de Montmorency by Pierre Chambiges.
The Petit Château was also built for him, around 1560, probably by Jean Bullant. In 1632, after the death of Henri II de Montmorency, it passed to his nephew, the Grand Condé, who inherited it through his mother, Charlotte Marguerite de Montmorency.
Molière's play, Les Précieuses Ridicules, received its first performance at the château in 1659.
Madame de Sévigné relates in her memoirs that when King Louis XIV of France visited there in 1671, François Vatel, the maître d'hôtel to the Grand Condé, committed suicide when he feared the fish would be served late.
The collection includes important works by the cabinetmaker André-Charles Boulle.
-- Revolution and Aftermath
The original mansion was destroyed during the French Revolution. It was repaired modestly by Louis Henri II, Prince of Condé, but the entire property was confiscated from the Orléans family between 1853 and 1872, during which interval it was owned by Coutts, the English bank.
Chantilly was entirely rebuilt between 1875 and 1882 by Henri d'Orléans, duc d'Aumale (1822–1897). The new château met with mixed reviews. Boni de Castellane wrote:
"What is today styled a marvel is one
of the saddest specimens of the
architecture of our era — one enters
on the second floor and descends to
the salons".
In 1889, the château was bequeathed to the Institut de France as a price for the Duc d'Aumale's return from political exile.
-- 21st. Century Restoration
The World Monuments Fund included the site in the 1998 World Monuments Watch, in order to call attention to water infiltration and high humidity in the Galerie des Actions de Monsieur le Prince.
The château was again included in the World Monuments Watch, in 2002, due to the precarious condition of the entire estate. Funding for restoration work was provided from various sources, including American Express and the Generali Group.
Subsequently, in response to an appeal for the restoration of the château, The Aga Khan donated €40 million, accounting for more than half of the €70 million needed by the Institut de France to complete the project.
In 2008, the World Monuments Fund completed the restoration of the Grande Singerie, a salon featuring paintings of monkeys engaged in human activities, once a fashionable salon motif, but with few examples surviving today.
Musée Condé
The art gallery of Chantilly is one of the largest in France. Works in the art gallery include Sassetta's Mystic Marriage of St. Francis, Botticelli's Autumn, and Piero di Cosimo's Portrait of Simonetta Vespucci.
Other works include Raphael's Three Graces and Madonna of Loreto, Guercino's Pietà, Pierre Mignard's Portrait of Molière, as well as four of Antoine Watteau's paintings and Jean-Baptiste-Camille Corot's Le Concert Champêtre.
Additional paintings in the collection include works by Fra Angelico, Filippino Lippi, Hans Memling, 260 paintings and drawings by François and Jean Clouet, Veronese, Barocci, Annibale Carracci, Domenichino, Salvator Rosa, Nicolas Poussin, Philippe de Champaigne, Van Dyck, Guido Reni, Jean-Baptiste Greuze, Joshua Reynolds, Eugène Delacroix, Ingres, and Géricault.
The library of the Petit Château contains over 1,500 manuscripts and 17,500 printed volumes. There is a collection of over 700 incunabula, and some 300 medieval manuscripts, including one page of the Registrum Gregorii (c. 983), the Très Riches Heures du Duc de Berry, the Ingeborg Psalter, and 40 miniatures from Jean Fouquet's Book of Hours of Étienne Chevalier.
Also in the museum's collection is the Chantilly Codex, the primary manuscript of ars subtilior music, and the treasured library of the Emirate of Abdelkader, a 19th. century Algerian Sufi emirate.
The Chantilly Estate
The main French formal garden, featuring extensive parterres and water features, was laid out principally by André Le Nôtre for the Grand Condé.
The park also contains a French landscape garden with a cascade, pavilions, and a rustic village named the Hameau de Chantilly. The last of these inspired the Hameau de la Reine of Marie Antoinette in the Gardens of Versailles.
The estate overlooks the Chantilly Racecourse and the Grandes Écuries (Great Stables), which contain the Living Museum of the Horse.
According to legend, Louis Henri, Duc de Bourbon, Prince of Condé believed that he would be reincarnated as a horse after his death. In 1719, he asked the architect Jean Aubert to build stables suitable to his rank.
Modern Uses of the Château
The Château has various modern uses:
-- The Molteni Campagnolo cycling team, including star rider Eddy Merckx, are seen riding past the château soon after the beginning of Jorgen Leth's seminal documentary, A Sunday In Hell, on the way to the start line of the 1976 Paris-Roubaix race.
-- The château and the Great Stables were featured in the 1985 James Bond film A View to a Kill, as the home of villainous Max Zorin (played by Christopher Walken) which was being infiltrated by Bond (played for the last time by Roger Moore) in his quest to find out more about Zorin, who had already aroused suspicions of MI6 with various business activities, and ultimately eliminate him.
-- Pink Floyd performed, on two consecutive nights, at the château during their The Division Bell tour on the 30th. and 31st. July 1994.
-- Every two years, in June, the "Nuits de Feu" international fireworks competition is held in the château's garden.
-- Ronaldo married model and former television host Daniela Cicarelli in the château in 2005. The ceremony reportedly cost €700,000.
-- Every May, a rowing regatta, the Trophée des Rois, is held on the grounds. French university crews compete in the 750m race for a trophy.
-- The château appeared in the finale of the French reality competition Amazing Race in 2012.
-- David Gilmour, guitarist and singer of Pink Floyd, performed at the venue on the 16th. July 2016 as part of his Rattle That Lock world tour.
-- The video game Battlefield 1 features a level that is based around the Château called "Ballroom Blitz".
-- The trailer for the finals of the 2019 League of Legends World Championship was filmed inside and around the château.
-- The fifth leg of The Amazing Race 32 had a Roadblock and a Speed Bump take place in the grounds of the château.
-- The château is a location in the 2022 movie The Gray Man.
Landscapes around Porto Potenza Picena (Macerata Province)
-------------------------------------
Loreto is a hilltown and comune of the Italian province of Ancona, in the Marche. It is mostly famous as the seat of the Basilica della Santa Casa, a popular Catholic pilgrimage site.
Loreto is located 127 m above sea-level on the right bank of the Musone river. It is 22 km by rail SSE of Ancona. Like many places in the Marche, it provides good views from the Apennines to the Adriatic.
Loreto's main monuments occupy the four sides of the piazza: the college of the Jesuits, the Palazzo Comunale (formerly the Palazzo Apostolico), designed by Bramante, with an art gallery with works of Lorenzo Lotto, Vouet and Annibale Carracci as well as a collection of maiolica, and the Shrine of the Holy House (Santuario della Santa Casa).
The city has also a massive line of walls designed by Antonio da Sangallo the Younger, which were erected from 1518 and reinforced in the 17th century.
Annibale Carracci (1560-1609) - Silenus gathering Grapes, 1597-1600. Probably formed lid of a keyboard instrument
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.
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.
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.
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.
fresco cycle in the Sala (reception hall), Palazzo Farnese, Rome, 1597-1601- (includes Triumph of Bacchus and Ariadne, Polyphemus and Galatea, and Venus and Anchises)
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.
View over Montalto Delle Marche 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 painted by Fontana.
The Triton Pool - Now a little bit of Greek mythology: Tritons were the messengers of the sea, born of Poseidon (god of the sea) and Amphitrite. They had the upper body of a human and the tail of a fish. They created winds and waves at Poseidon's bidding by coming to the surface of the sea and blowing through a conch shell. The representations here are probably based upon a painting by Annibale Carracci, an early Baroque artist who resided in Italy. It is believed that they illustrate a story in which Triton was challenged to a contest by Misenus, the Trojan trumpeter for Aeneas. Triton promptly tossed Misenus into the sea for his arrogance. The statues were carved from Carrara marble by an unknown Italian artist and commissioned by Richard Canfield in 1902 and brought by him from Italy in 1905. The local residents affectionately refer to the Tritons as "Spit and Spat" due to their spewing water at each other. Notice the two Corinthian columns in the distance, behind the reflecting pool, they are said to guard the entrance to the inner garden where the Palladian Circle is located. The Triton statues and the reflecting pool are located in the Italian Gardens section of Congress Park with an entrance off Broadway in Saratoga Springs, NY. (SS/228)
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.
St. William of Aquitaine Receiving the Cowl
Guercino (Giovanni Francesco Barbieri)
1620
Oil on canvas
Pinacoteca Nazionale, Bologna, Italy
This canvas originated from the church of S. Gregorio in Bologna and according to contemporaries it was a "large splash" of light and colour that completely overshadowed all the other paintings around it, including Lodovico Carracci's altarpiece. There is no doubt that this was the most important painting Guercino produced in his early years. He took great trouble preparing it and worked from careful studies and pencil sketches. The structure of the composition was highly original. The figures are arranged along the sides of an invisible lozenge, leaving the centre of the painting empty. The use of light and shade emphasized both the very delicate colours (right through to the candid white robes of the brother on the right) and the deeply dark areas. Thanks to this painting, Guercino became the favourite painter of Cardinal Ludovisi and leader of the Bologna school.
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.