Roma Palazzo Farnese Rione Regola

Information supplied by the York Civic Trust. yorkcivictrust.co.uk/heritage/civic-trust-plaques/george-...

 

In 1911 the city of York belatedly recognised Etty. A statue of Etty by G. W. Milburn was unveiled on 1 February outside the York Art Gallery in Exhibition Square, and a retrospective of 164 Etty paintings was held at the gallery despite opposition from some of Etty's descendants who refused to lend works for it. William Wallace Hargrove, proprietor of the York Herald, gave a speech recalling his memories of knowing Etty. Outside York, Etty generally remained little-known, with the majority of those galleries holding his works, other than the Lady Lever Art Gallery, the Russell-Cotes Museum and Anglesey Abbey, tending to keep them in storage. Minor Etty exhibitions in London in 1936 and 1938 had little impact, and likewise an exhibition of 30 Etty paintings in 1948 to mark the reopening of the York Art Gallery and another York exhibition of 108 paintings the following year to mark the centenary of his death. In 2001–02 five Etty paintings were included in Tate Britain's landmark Exposed: The Victorian Nude exhibition, which did much to raise Etty's profile, and established Etty as "the first British artist to paint the nude with both seriousness and consistency". The restoration of The Sirens and Ulysses, completed in 2010, led to increased interest in Etty, and in 2011–12 a major exhibition of Etty's works was held at the York Art Gallery. The York Art Gallery continues to hold the largest collection of Etty's works.

 

George Walker Milburn (1844-1941)

Woodcarver, Stonemason and Sculptor

 

Plaque erected in St Leonard’s Place, YO1 7HD

 

George Walker Milburn, master woodcarver, stonemason and sculptor, was born in Goodramgate, York on 17 June 1844. He was the eighth of ten children of Lionel Altimont Milburn, a York tailor, and his wife, Elizabeth Clapham, of Gainsborough, Lincolnshire. Little is certain about George’s childhood years but, in his early teens, he was apprenticed as a woodcarver to William Alfred Waddington, “Pianoforte Manufacturer”, who was based at 44 Stonegate, York. He attended York School of Art where he won several medals and awards. A head modelled by Milburn so impressed the sculptor Thomas Woolner RA that he offered the young student the opportunity to study with him, but Milburn felt obliged to decline as he had already commenced his apprenticeship. In 1865, having completed his woodcarving studies, George went to London to study stone-carving with Samuel J. Ruddock. While there he exhibited a medallion of the stained-glass artist Charles Hardgraves at the Royal Academy of Art.

 

George returned to York around 1872 and set up his own stone yard at 53 Gillygate. One of his first commissions was for the architect George Edmund Street on the massive project to restore the South Transept of York Minster. Street employed the young carver to execute a large portion of the decorative stonework on the interior and exterior during the eight years of restoration (1872-80). Street was sufficiently impressed by George’s artistry that he took him to Corfe Castle in Dorset to work on St James’ Church at Kingston, the church described as “The Jewel of the Purbecks”. In addition to Street, George worked with many other leading architects of the Victorian and Edwardian era including Sir George Gilbert Scott, Charles Clement Hodges, Charles Hodgson Fowler, and Walter H. Brierley.

 

York’s first public statue

In 1885 George Milburn won the competition to execute a statue to commemorate George Leeman MP, three times Lord Mayor of York and a dominant figure in 19th-century York politics. Some felt that George had insufficient experience to execute the work and the controversy rumbled on in the York newspapers for many months. He took an enormous financial gamble, signing a potentially punitive contract with York City Council which would have ruined him had he failed. But the gamble paid off and York’s first public statue established him as a sculptor in addition to his already established reputation as a stone- and woodcarver.

  

George Milburn’s stoneyard in St Leonard’s Place between Bootham Bar and the De Grey Rooms

About this time, George moved his stone yard to St Leonard’s Place at Bootham where it would remain for more than 50 years. He would go on to be awarded commissions for a statue of Queen Victoria for the Guildhall and a statue of William Etty which stands in Exhibition Square. While the Victoria statue also caused rumblings of discontent in the press, it was less to do with the choice of sculptor than with political squabbling over whether a statue was the correct form of memorial with which to honour the late Queen. On its completion, the statue received widespread praise. When unveiled by the Queen’s daughter, Princess Henry of Battenberg, she broke with protocol and shook the sculptor’s hand.

 

Ecclesiastical and secular work

George left a large body of work, ecclesiastical and secular. He carved almost 50 memorial crosses and executed works for more than 150 churches. A small sample of his stone-carving includes the impressive Boer War Memorial Cross at Durham Cathedral; the Bede Cross at Roker, Sunderland; the statues for the elaborate Reredos at St Aidan’s Church, Bamburgh; the Reredos at St Peter-at-Gowts, Lincoln; and multiple pulpits and fonts including St Barnabas’ Church in York, St Aidan’s in Hartlepool, and All Saints in Lincoln. His woodwork, equal to though less recognised than that of Robert Thompson, can be seen in the tracery panels for the magnificent double organ at Howden Minster, the organ screen for St Helen’s Church at Escrick, the chancel screen at Melton Mowbray and the beautiful reredos in St Benet’s Chapel at Ampleforth Abbey.

 

His mastery of both stone- and woodcarving can be seen at St Thomas’ Parish Church at Stockton-on-Tees where he sculpted the large stone cartouche over the east window and the elaborate oak bench ends in the choir, and at St Andrew’s Church at Bournemouth in Dorset where he carved the delightful oak figures for the choir, six stone statues and a beautiful alabaster reredos of the Annunciation. His works for private houses included Hawkstone Hall, Shropshire; the chapel at Hatfield College, Durham; Dunollie Hall, Scarborough; Carlton Towers, East Yorkshire; Gray’s Court, York; the renowned Arts and Crafts-style house, Goddards, York; and the chapel at Castle Howard.

 

National reputation

While his works were predominantly in Yorkshire and the North-East of England, his work can be found throughout the country, from Bournemouth in Dorset to Edinburgh where he carved the statue of John Hunter on the façade of the National Portrait Gallery. Although the Scottish sculptor James MacGillivray Pittendrigh has been credited with the latter, it was George Milburn who sculpted the statue from a miniature by Pittendrigh. Works can be found in almost 20 counties throughout the UK including Lincolnshire, Kent, Shropshire, Durham, Northumberland, Tyne and Wear, and Norfolk.

 

In York alone the list of his works includes the William Etty, Queen Victoria and George Leeman statues and works for York Minster, York Art Gallery, York Explore Library, St Barnabas’ Church, St Chad’s at Knavesmire; St Olave’s Church, St Wilfrid’s Church, Holy Trinity Church, All Saints Pavement, Barclays Bank, Beckett’s Bank (now Starbucks), Jacob’s Well in Micklegate, St Sampson’s Church, St Andrew’s Church at Bishopthorpe, Fulford Church and many others. He found time in his busy career to make a positive contribution to some of York’s many societies; he was a member of the York Philosophical Society, an active supporter of the York School of Art and a frequent lecturer.

 

Family life

In his private life, he was a practising Catholic – although he seems to have had a relaxed attitude about the strict adherence to church rules; his first marriage, to Ellen Ward, was at St Wilfrid’s Church; his second, to Isabella Fletcher, took place at St Olave’s Church in Marygate. Like many Victorians, he suffered a series of family tragedies; his first child, Lionel, died at the age of one; his first wife, Ellen, died of TB in 1885 at the age of 28, shortly after giving birth to their fourth child, Norah; Norah herself died one year later. In all, of five children in his two marriages, only two survived into adulthood. His second marriage, to Isabella Fletcher, in 1888, lasted until her death in 1924. With his son, Wilfrid Joseph Milburn, the two worked as G.W. Milburn & Son from the stone yard at St Leonard’s Plac

 

George had an exceptionally long career, working well into his eighties and living through enormous changes in his native city. Born in the seventh year of Victoria’s reign, when Sir Robert Peel was Prime Minster and York a city with a population of barely 40,000, his work straddled two centuries and honoured the dead of two wars: the Boer War and the First World War. During his lifetime the population of York expanded to more than 123,000 inhabitants. Few others can claim to have lived and worked continuously in one city through a period of such enormous change. He died in York City Hospital, Huntington Road on 3 September 1941.

 

His importance to York can be gauged by the judgement of his fellow artists and peers. John Ward Knowles, the renowned York stained-glass artist, was of the opinion that for many years stone-carving in York had been ‘confined to the works of ornamental sculpture’ until ‘the higher branch of the art was again resuscitated by George Milburn’. Street reportedly called him ‘the best Gothic sculptor in the country’ and Knowles felt that, in stone-carving, George ‘stood pre-eminently in front of his confrères’.

 

More than 270 of George Milburn’s works survive but this master craftsman has not received the recognition that he deserves, and most of his extant works remain uncredited, overshadowed by others, such as Robert Beall of Newcastle or Thompson of Kilburn, or even incorrectly ascribed to others.

 

William Etty RA (10 March 1787 – 13 November 1849) was an English artist best known for his history paintings containing nude figures. He was the first significant British painter of nudes and still lifes. Born in York, he left school at the age of 12 to become an apprentice printer in Hull. He completed his apprenticeship seven years later and moved to London, where in 1807 he joined the Royal Academy Schools. There he studied under Thomas Lawrence and trained by copying works by other artists. Etty earned respect at the Royal Academy of Arts for his ability to paint realistic flesh tones, but had little commercial or critical success in his first few years in London.

 

Etty's Cleopatra's Arrival in Cilicia, painted in 1821, featured numerous nudes and was exhibited to great acclaim. Its success prompted several further depictions of historical scenes with nudes. All but one of the works he exhibited at the Royal Academy in the 1820s contained at least one nude figure, and he acquired a reputation for indecency. Despite this, he was commercially successful and critically acclaimed, and in 1828 was elected a Royal Academician, at the time the highest honour available to an artist. Although he was one of the most respected artists in the country he continued to study at life classes throughout his life, a practice considered inappropriate by his fellow artists. In the 1830s Etty began to branch out into the more lucrative but less respected field of portraiture, and later became the first English painter to paint significant still lifes. He continued to paint both male and female nudes, which caused severe criticism and condemnation from some elements of the press.

 

An extremely shy man, Etty rarely socialised and never married. From 1824 until his death he lived with his niece Betsy (Elizabeth Etty). Even in London he retained a keen interest in his native York, and was instrumental in the establishment of the town's first art school and the campaign to preserve York city walls. While he never formally converted from his Methodist faith, he was deeply attached to the Roman Catholic Church and was one of the few non-Catholics to attend the 1838 opening of Augustus Pugin's chapel for St Mary's College, Oscott, at that time England's most important Roman Catholic building.

 

Etty was prolific and commercially successful throughout the 1840s, but the quality of his work deteriorated throughout this period. As his health progressively worsened he retired to York in 1848. He died in 1849, shortly after a major retrospective exhibition. In the immediate aftermath of his death his works became highly collectable and sold for large sums. Changing tastes meant his work later fell out of fashion, and imitators soon abandoned his style. By the end of the 19th century the value of all of his works had fallen below their original prices, and outside his native York he remained little known throughout the 20th century. Etty's inclusion in Tate Britain's landmark Exposed: The Victorian Nude exhibition in 2001–02, the high-profile restoration of his The Sirens and Ulysses in 2010 and a major retrospective of his work at the York Art Gallery in 2011–12 led to renewed interest in his work.

 

York Art Gallery is a public art gallery in York, England, with a collection of paintings from 14th-century to contemporary, prints, watercolours, drawings, and ceramics. It closed for major redevelopment in 2013, reopening in summer of 2015. The building is a Grade II listed building and is managed by York Museums Trust.

 

The gallery was created to provide a permanent building as the core space for the second Yorkshire Fine Art and Industrial Exhibition of 1879, the first in 1866 having occupied a temporary chalet in the grounds of Bootham Asylum. The 1866 exhibition, which ran from 24 July to 31 October 1866 was attended by over 400,000 people and yielded a net profit for the organising committee of £1,866. A meeting of this committee in April 1867 committed to "applying this surplus in providing some permanent building to be devoted to the encouragement of Art and Industry".

 

The result was the development of a second exhibition, housed in a newly constructed building designed by a York architect named Edward Taylor; a series of 189 drawings, watercolours and sketches for the proposed gallery were produced by Taylor in the period 1874–1878. The architectural plan for the building changed considerably during this time, from an 'Elizabethan' style to an 'Italian' style – neither were fully realised in the final design. The building first opened on 7 May 1879.

 

The site for the 1879 exhibition was an area in the grounds of the medieval St Mary's Abbey known as 'Bearparks Garden'. It is fronted by what became Exhibition Square, which was cleared by the demolition of a house and the former Bird in Hand Hotel. The art gallery consisted of an entrance hall, central hall, north and south galleries and on the upper floor a Grand Picture Saloon. Its intended grand classical façade decorated with 18 stone figures, a carved tympanum and 14 mosaics was not done for financial reasons and it was decorated instead with two tiled panels representing 'Leonardo expiring in the arms of Francis I', and 'Michaelangelo showing his Moses', together with four ceramic roundels depicting York artists William Etty (painter), John Carr (architect), John Camidge (musician), and John Flaxman (sculptor). To the rear of the building was a large temporary exhibition hall with machinery annex. The exhibition hall itself measured 200 ft (61 m) by 90 ft (27 m) and had aisles on each side with galleries above. A large organ was placed in the building, originally built in 1862 by William Telford of Dublin. The roof of the building was over 60 ft (18 m) above. Each side of the covered way between the hall and the stone building was used for refreshments with a cafe on one side and a first-class lounge on the other. A large cellar was excavated below in order to store liquor for these rooms.

 

The exhibition hall was intended to be used only for three years, but remained in use for meetings, concerts and other functions until 1909 and was not demolished until the Second World War.

 

Following the 1879 exhibition the renamed Yorkshire Fine Art and Industrial Institution aimed to create a permanent art exhibition. It was given a major boost by the bequest of York collector John Burton (1799–1882) of more than one hundred 19th-century paintings, supplemented by gifts and in the early years two major temporary loan collections. In 1888 the north galleries were leased to York School of Art, which moved there in 1890 from Minster Yard.

 

York City Council purchased the buildings and collection in 1892. Temporary summer exhibitions ceased in 1903 but a major exhibition of the work of York artist William Etty was held in 1911 when his statue by local sculptor George Walker Milburn was erected outside.

 

In 1888 the north wing was leased to York Art School which added a further storey in 1905, and after that the wing was vacated by the school. It housed the city archives from 1977 to 2012.

 

The period up to the commencement of the Second World War was one of modest growth, the major event being purchase of the Dr William Arthur Evelyn collection of prints, drawings and watercolours of York in 1931. The building was requisitioned for military purposes at the outbreak of the Second World War and closed, suffering bomb damage during the Baedeker Blitz on 29 April 1942.

 

The gallery reopened in 1948 with a small temporary exhibition before a major restoration in 1951–52 after which began a major revival of fortune under the direction of Hans Hess. He made important acquisitions with the assistance of the York Art Collection Society founded in 1948 (later Friends of York Art Gallery) and the National Art Collections Fund, and then in 1955 the donation of FD Lycett Green's collection of more than one hundred continental Old Master paintings. As a result of the systematic build up under Hess and his successors, the gallery has a British collection especially of late-19th-century and early-20th-century works with some French works representative of influential styles.

 

In 1963 the gallery was given Eric Milner-White's collection of studio pottery.

 

In 1979 a 15th-century painting of the Angel Gabriel and five saints by an artist of the Nuremberg School was stolen from the gallery. It was recovered and returned to the gallery in 2023 after an auction house in Dorchester linked it to a listing on the Art Loss Register.

 

In the 1990s and 2000s the collection was supplemented by other major donations and loans, most notably those of WA Ismay and Henry Rothschild (1913–2009).

 

In January 1999 the gallery was victim of an armed robbery, during which staff were tied up and threatened, and over £700,000 of paintings were stolen. At closing time, four members of staff were threatened by two men bearing pistols and wearing ski masks. They took a watercolour by J. M. W. Turner from a display case and 19 other paintings from the walls, cutting some of those from their frames.

 

The main perpetrator, Craig Townsend, was arrested by armed police when he, and another man, arrived at an arranged meeting with an art dealer to sell the stolen paintings. He was sentenced to 14 years in jail at York Crown Court in February 2000 for the robbery.

 

The gallery underwent a £445,000 refurbishment in 2005, reopening on 19 March. This development was supported by a £272,700 grant from the Heritage Lottery Fund and £85,000 from the City of York Council.

 

A restoration in 2013–15 cost £8 million, and was undertaken to increase display space by some 60%, including reincorporation of the north wing, an upper-floor extension to the south wing, and reorganisation of the internal space for exhibition and storage. The development enabled the area to the rear of the building to be restored to public use as part of the Museum Gardens. The reopened gallery houses the British Studio Ceramics on the upper floor. The gallery reopened on 1 August 2015, charging an admission fee for the first time since 2002. The first year after the gallery reopened with a new charging structure saw visitor numbers fall by over 120,000 to 91,896 compared to the year 2011–2012 when there was no admission charge.

 

During the 2020 exhibition of paintings by Harland Miller ("Harland Miller: York, So Good They Named it Once") it was reported that commemorative posters sold in the Art Gallery gift shop were being resold online for up to £1,000. The posters depicted a reworked version of Miller's 2009 work 'York – So Good They Named It Once'; part of his 'Pelican Bad Weather' series of humorous book covers.

 

In November 2020 the gallery announced that it had acquired works following a successful application to the Derbyshire School Library Service, which had owned the works but closed in 2018. The works acquired are by four British artists: Prunella Clough, Margaret Mellis, Marion Grace Hocken, and Daphne Fedarb.

 

The gallery has more than 1,000 paintings. Western European paintings include 14th-century Italian altarpieces, Annibale Carracci's early 17th-century Portrait of monsignor Giovanni Battista Agucchi, 17th-century Dutch morality works, and 19th-century works by French artists who were predecessors and contemporaries of the Impressionists. British paintings date from the 16th century onward, with 17th and 18th-century portraits and paintings by Giambattista Pittoni and vedutas by Bernardo Bellotto, Victorian morality works and early 20th-century work by the Camden Town Group associated with Walter Sickert being particularly strong. Among the contemporaries, Paul Nash, L. S. Lowry and Ben Nicholson and the Swiss-born Luigi Pericle. Amongst York born artists the gallery has the largest collection of works by William Etty and good paintings by Albert Moore. Henry Keyworth Raine, the great nephew of William Powell Frith, gifted various works, including a portrait of George Kirby (1845–1937), the First Curator of York Art gallery.

 

The gallery holds a collection of British studio ceramics with more than 5,000 pieces. They include works by Bernard Leach, Shoji Hamada, William Staite Murray, Michael Cardew, Lucie Rie, Hans Coper, Jim Malone and Michael Casson.

 

The collection of more than 17,000 drawings, watercolours and prints is particularly strong in views of York, with more than 4,000 examples, largely watercolours and drawings, some by local artists such as Henry Cave, John Harper, John Browne and Patrick Hall. Watercolour artists represented include Thomas Rowlandson, John Varley, Thomas Girtin, J. M. W. Turner, and 20th-century painters Edward Burra, John Piper and Julian Trevelyan. The gallery holds the William Etty archive.

 

There are more than 3,000 decorative objects particularly from Yorkshire potteries from the 16th century to the early 20th century, Chinese and Korean pottery from the 18th and 19th century, and glassware.

 

Curators and directors

George KirbyCurator1879–1931

Hans HessCurator1947–1967

Peter TomoryAssistant Curator1950–1956

John IngamellsCurator1967–1977

Richard GreenCurator1977–2003

Caroline WorthingtonCurator of Art2003–2008

Laura TurnerCurator of Art2008–2017

Vera PavlovaSenior Curator of York Art Gallery 2017–2018

Beatrice BertramSenior Curator of York Art Gallery2018 – current

 

Many exhibitions have taken place in the gallery, of varying sizes and length. The exhibition schedule from 2020 onwards has included a mix of touring exhibitions and internal exhibitions, often linked to wider events in the city and internationally.

 

Awards

Visit York Tourism Awards: Visitor Attraction of the Year 2016 (Over 50,000 Visitors category) (winner).

Art Fund: Museum of the Year 2016 (finalist).

Kids in Museums: Family Friendly Museum Award 2016 (winner).

European Museum Forum: European Museum of the Year 2017 (nominated). Special commendation received.

 

York is a cathedral city in North Yorkshire, England, with Roman origins, sited at the confluence of the rivers Ouse and Foss. It is the county town of Yorkshire. The city has many historic buildings and other structures, such as a minster, castle, and city walls. It is the largest settlement and the administrative centre of the wider City of York district. Through the title of Duke of York, it is the namesake of New York City.

 

The city was founded under the name of Eboracum in 71 AD. It then became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria, and Scandinavian York. In the Middle Ages, it became the northern England ecclesiastical province's centre, and grew as a wool-trading centre. In the 19th century, it became a major railway network hub and confectionery manufacturing centre. In the Second World War, part of the Baedeker Blitz bombed the city. Although less targeted during the war than other, more industrialised northern cities, several historic buildings were gutted and restoration took place up until the 1960s.

 

The city is one of 15 in England to have a lord mayor, and one of three to have "The Right Honourable" title affixed, the others being London's and Bristol's. Historic governance of the city was as a county corporate, not included in the county's riding system. The city has since been covered by a municipal borough, county borough, and since 1996 a non-metropolitan district (the City of York), which also includes surrounding villages and rural areas, and the town of Haxby. The current district's local council is responsible for providing all local services and facilities throughout this area. York's built-up area had a population of 141,685 at the 2021 UK census, and the wider city (the local government district) had a population of 202,800, a 2.4% increase compared to the 2011 census.

 

The history of York, England, as a city dates to the beginning of the first millennium AD but archaeological evidence for the presence of people in the region of York dates back much further to between 8000 and 7000 BC. As York was a town in Roman times, its Celtic name is recorded in Roman sources (as Eboracum and Eburacum); after 400, Angles took over the area and adapted the name by folk etymology to Old English Eoforwīc or Eoforīc, which means "wild-boar town" or "rich in wild-boar". The Vikings, who took over the area later, in turn adapted the name by folk etymology to Norse Jórvík meaning "wild-boar bay", 'jór' being a contraction of the Old Norse word for wild boar, 'jǫfurr'. The modern Welsh name is Efrog.

 

After the Anglian settlement of the North of England, Anglian York was first capital of Deira and later Northumbria, and by the early 7th century, York was an important royal centre for the Northumbrian kings. Following the Norman Conquest of 1066 York was substantially damaged, but in time became an important urban centre as the administrative centre of the county of Yorkshire. York prospered during much of the later medieval era; the later years of the 14th and the earlier years of the 15th centuries were characterised by particular prosperity. During the English Civil War, the city was regarded as a Royalist stronghold and was besieged and eventually captured by Parliamentary forces under Lord Fairfax in 1644. After the war, York retained its pre-eminence in the North, and, by 1660, was the third-largest city in England after London and Norwich.

 

Modern York has 34 Conservation Areas, 2,084 Listed buildings and 22 Scheduled Ancient Monuments in its care. Every year, thousands of tourists come to see the surviving medieval buildings, interspersed with Roman and Viking remains and Georgian architecture.

 

Archaeological evidence suggests that people were settled in the region of York between 8000 and 7000 BC, although it is not known if these were permanent or temporary settlements. Polished stone axes indicate the presence of people during the Neolithic period in the area where the city of York is now, especially on the south-west bank of the River Ouse, just outside the city centre near where Scarborough Bridge is now. Evidence for people continues into the Bronze Age with a hoard of flint tools and weapons found by Holgate Beck between the railway and the River Ouse, burials and bronzes found on both sides of the River Ouse and a beaker vessel found in Bootham. Iron Age burials have been found near the area on the south-west bank of the Ouse where the concentration of Neolithic axes was found. Few other finds from this period have been found in York itself, but evidence of a late Iron Age farmstead has been uncovered at Lingcroft Farm 3 miles (4.8 km) away at Naburn.

 

The Romans called the tribes in the region around York the Brigantes and the Parisii. York may have been on the border between these two tribes. During the Roman conquest of Britain the Brigantes became a Roman client state, but, when their leadership changed becoming more hostile to Rome, Roman General Quintus Petillius Cerialis led the Ninth Legion north of the Humber.

 

York was founded in 71 AD when Cerialis and the Ninth Legion constructed a military fortress (castra) on flat ground above the River Ouse near its junction with the River Foss. The fortress was later rebuilt in stone, covered an area of 50 acres, and was inhabited by 6,000 soldiers. The earliest known mention of Eburacum by name is from a wooden stylus tablet from the Roman fortress of Vindolanda along Hadrian's Wall, dated to c. 95–104 AD, where it is called Eburaci. Much of the Roman fortress lies under the foundations of York Minster, and excavations in the Minster's undercroft have revealed some of the original walls.

 

At some time between 109 AD and 122 AD the garrison of the Ninth Legion was replaced by the Sixth Legion. There is no documented trace of the Ninth Legion after 117 AD, and various theories have been proposed as to what happened to it. The Sixth Legion remained in York until the end of Roman occupation about 400 AD. The Emperors Hadrian, Septimius Severus and Constantius I all held court in York during their various campaigns. During his stay, the Emperor Severus proclaimed York capital of the province of Britannia Inferior, and it is likely that it was he who granted York the privileges of a colonia or city. Constantius I died during his stay in York, and his son Constantine the Great was proclaimed Emperor by the troops based in the fortress.

 

Economically the military presence was important with workshops growing up to supply the needs of the 5,000 troops garrisoned there and in its early stages York operated a command economy. Production included military pottery until the mid-third century; military tile kilns have been found in the Aldwark-Peasholme Green area, glassworking at Coppergate, metalworks and leatherworks producing military equipment in Tanner Row. New trading opportunities led local people to create a permanent civilian settlement on the south-west bank of the River Ouse opposite the fortress. By 237 it had been made a colonia one of only four in Britain and the others were founded for retired soldiers. York was self-governing, with a council made up of rich locals, including merchants, and veteran soldiers.

 

Evidence of Roman religious beliefs in York have been found including altars to Mars, Hercules, Jupiter and Fortune, while phallic amulets are the most commonly found type of good luck charm. In terms of number of reference the most popular deities were the spiritual representation (genius) of York and the Mother Goddess; there is also evidence of local or regional deities. There was also a Christian community in York although it is not known when it was first formed and there is virtually no archaeological record of it. The first evidence of this community is a document noting the attendance of Bishop Eborius of Eboracum at the Council of Arles (314), and bishops also attended the First Council of Nicaea in 325, the Council of Serdica, and the Council of Ariminum.

 

By 400 AD York's fortunes had changed for the worse. The town was undergoing periodic winter floods from the rivers Ouse and Foss, its wharf-side facilities were buried under several feet of silt and the primary Roman bridge connecting the town with the fortress may have become derelict. By this time Eboracum was probably no longer a population centre, though it likely remained a centre of authority. While the colonia remained above flood levels, it was largely abandoned as well, retaining only a small ribbon of population for a time.

 

There is little written evidence about York in the centuries following the Roman withdrawal from Britain in 410, a pattern repeated throughout Sub-Roman Britain. There is archaeological evidence for continued settlement at York near the Ouse in the 5th century, and private Roman houses, especially suburban villas, remained occupied after the Roman withdrawal.

 

Some scholars have suggested that York remained a significant regional centre for the Britons, based largely on literary evidence. Several manuscripts of the Historia Brittonum, written c. 830, contain a list of 28 or 33 "civitates", originally used to describe British tribal centres under Roman rule but here translated as Old Welsh cair (caer) and probably indicating "fortified cities". Among these settlements is Cair Ebrauc. Later, the text states that Ida was the first Anglian king of Bernicia and ruler over Cair Ebrauc. These are generally taken as references to a successor to old Roman Eburacum. This mention has led to speculation about Ebrauc in post-Roman times.

 

Christopher Allen Snyder makes note of the evidence for Eboracum continuing to function, perhaps as a military outpost or the seat of a minor kingdom based on some old territory of the Brigantes. Snyder cites historian and archaeologist Nick Higham in saying that the settlement had declined so much by the end of the Roman period that it was unlikely to have been a significant post-Roman regional centre.

 

Scholar Peter Field suggests that the City of Legions (urbs legionum) mentioned by Gildas in his 6th-century De Excidio et Conquestu Britanniae is a reference to York, rather than Caerleon; if this were the case it could provide some contemporary information about Ebrauc.

 

A Peredur son of Efrawg is the hero of a 12th- or 13th-century Welsh romance; this would have been a variant of Ebrauc along with "Efrawg" or "Efrog", suggesting the city had royal associations in later tradition.

 

What later became parts of the North Riding and City of York were conquered by a Bythonic to early Angle version of Deira, Based around the Derwent.

 

Angles settled in the area in the early 5th century. Cemeteries that are identifiably Anglian date from this period. Cremation cemeteries from the 6th century have been excavated close to York on The Mount and at Heworth; there are, however, few objects from inside the city, and whether York was settled at all at this period remains unclear. The fortress's fate after 400 AD is not clear, it is unlikely to have been a base of Romano-British power in opposition to the Anglians. Flooded area reclamation would not be initiated until the 7th century under Edwin of Northumbria. After Angle settlement of Northern England, York was the Anglo-capital of Deira and one of the capitals when the kingdom united with Bernicia, later known as Northumbria.

 

By the early 7th century, York was an important royal centre for the Northumbrian kings, for it was here that Paulinus of York (later St Paulinus) came to set up his wooden church, the precursor of York Minster, and it was here that King Edwin of Northumbria was baptised in 627. The first Minster is believed to have been built in 627, although the location of the early Minster is a matter of dispute.

 

Throughout the succeeding centuries, York remained an important royal and ecclesiastical centre, the seat of a bishop, and later, from 735, of an archbishop. Very little about Anglian York is known and few documents survive. It is known that the building and rebuilding of the Minster was carried out, along with the construction of a thirty-altar church dedicated to Alma Sophia (Holy Wisdom), which may have been on the same site.

 

York became a centre of learning under Northumbrian rule, with the establishment of the library and school, the ancestor of St Peter's School. Alcuin, later adviser to Charlemagne, was its most distinguished pupil and then master.

 

Of this great royal and ecclesiastical centre, little is yet known archaeologically. Excavations on the Roman fortress walls have shown that they may have survived more or less intact for much of their circuit, and the Anglian Tower, a small square tower built to fill a gap in the Roman way, may be a repair of the Anglian period. The survival of the walls and gates shows that the Roman street pattern survived, at least in part, inside the fortress. Certainly excavations beneath York Minster have shown that the great hall of the Roman headquarters building still stood and was used until the 9th century.

 

By the 8th century York was an active commercial centre with established trading links to other areas of England, northern France, the Low Countries and the Rhineland. Excavations near the junction of the River Foss and River Ouse in Fishergate found buildings dating from the 7th and 9th century. These were located away from the Roman centre of the city may form a trading settlement that served the royal and ecclesiastical century. This and other discoveries indicate an occupation pattern during the 7th to 9th century that followed the line of the rivers, creating a long linear settlement along the River Ouse and extending along some of the River Foss.

 

In November 866 AD a large army of Danish Vikings, called the "Great Heathen Army", captured York, unopposed due to conflict in the Kingdom of Northumbria. The next year they held the city when the Northumbrians tried to retake it; the army left the same year putting a local puppet king in charge of York and the area around York they controlled. The army returned in 875 and its leader Halfdan took control of York. From York, Viking kings ruled an area, known to historians as "The Kingdom of Jorvik", with Danes migrating and settling in large numbers in the Kingdom and in York. In York the Old Norse placename Konungsgurtha, Kings Court, recorded in the late 14th century in relation to an area immediately outside the site of the porta principalis sinistra, the west gatehouse of the Roman encampment, perpetuated today as King's Square, perhaps indicates a Viking royal palace site based on the remains of the east gate of the Roman fortress. In 954 the last Viking king, Eric Bloodaxe, was expelled and his kingdom was incorporated in the newly consolidated Anglo-Saxon state.

 

A renowned scholar of this era was Wulfstan II, Archbishop of York.

 

Several churches were built in York during the Viking Age including St Olave's, built before 1055 on Marygate, which is dedicated to St. Olaf King of Norway and St Mary Bishophill Junior which has a 10th century tower whose height was increased in the early 11th century.

 

Following the Norman Conquest of 1066, York was substantially damaged by the punitive harrying of the north (1069) launched by William the Conqueror in response to regional revolt. Two castles were erected in the city on either side of the River Ouse. In time York became an important urban centre as the administrative centre of the county of Yorkshire, as the seat of an archbishop, and at times in the later 13th and 14th centuries as an alternative seat of royal government. It was an important trading centre. Several religious houses were founded following the Conquest, including St Mary's Abbey and Holy Trinity Priory. The city as a possession of the crown also came to house a substantial Jewish community under the protection of the sheriff.

 

On 16 March 1190 a mob of townsfolk forced the Jews in York to flee into the castle keep (later replaced by Clifford's Tower), which was under the control of the sheriff. The castle was set on fire and the Jews were massacred. It is likely that various local magnates who were debtors of the Jews helped instigate this massacre or, at least, did nothing to prevent it. It came during a time of widespread attacks against Jews in Britain. The Jewish community in York did recover after the massacre and a Jewish presence remained in York until the expulsion of Jews from England in 1290.

 

York prospered during much of the later medieval era. Twenty-one medieval parish churches survive in whole or in part, though only eight of these are regularly used for worship. Many medieval era timber-framed buildings survive in the city. While Slum clearances in the 19th century removed some of the more decrepit ancient examples of medieval architecture in the city, such as the medieval Water Lanes, streets such as The Shambles still survive to this day. The Shambles mostly date from the later medieval era with many examples of timber-framed shops with overhanging upper floors. The street was originally occupied by butchers but is now a popular tourist attraction consisting of mostly souvenir shops. Some retain the outdoor shelves and the hooks on which meat was displayed. The medieval city walls, with their entrance gates, known as bars, encompassed virtually the entire city and survive to this day. The city was also designated as a county corporate, giving it effective county status.

 

The later years of the 14th and the earlier years of the 15th centuries were characterised by particular prosperity. It is in this period that the York Mystery Plays, a regular cycle of religious pageants (or plays) associated with the Corpus Christi cycle and performed by the various craft guilds grew up. Among the more important personages associated with this period was Nicholas Blackburn senior, Lord Mayor in 1412 and a leading merchant. He is depicted with his wife Margaret Blackburn in glass in the (now) east window of All Saints' Church in North Street. There seems to have been economic contraction and a dwindling in York's regional importance in the period from the later 15th century. The construction of the city's new Guildhall around the middle of the century can be seen as an attempt to project civic confidence in the face of growing uncertainty. Brandsby-type ware and Humber ware ceramics were popular in the city at this time.

 

Few buildings of significance were put up in the century after the completion of the Minster in 1472, the exceptions being the completion of the King's Manor (which from 1537 to 1641 housed the Council of the North) and the rebuilding of the church of St. Michael le Belfrey, where Guy Fawkes was baptised in 1570.

 

During the dissolution of the monasteries all the monastic institutions in the City were closed including St. Leonards Hospital and in 1539 St. Mary's Abbey. In 1547, fifteen parish churches were closed, reducing their number from forty to twenty-five, a reflection of the decline in the city's population. Despite the English Reformation making the practice of Roman Catholicism illegal, a Catholic Christian community remained in York although this was mainly in secret. Its members included St. Margaret Clitherow who was executed in 1586 for harbouring a priest and Guy Fawkes who tried to blow up the Houses of Parliament in 1605.

 

Following his break with Parliament, King Charles I established his Court in York in 1642 for six months. Subsequently, during the English Civil War, the city was regarded as a Royalist stronghold and was besieged and eventually captured by Parliamentary forces under Lord Fairfax in 1644. After the war, York slowly regained its former pre-eminence in the North, and, by 1660, was the third-largest city in England after London and Norwich.

 

In 1686 the Bar Convent was founded, in secret due to anti-catholic Laws, making it the oldest surviving convent in England.

 

York elected two members to the Unreformed House of Commons.

 

The Judges Lodgings is a Grade I listed townhouse that was built between 1711 and 1726 and later used to house judges when they attended the quarterly sessions of the Assizes at York Castle.

 

On 22 March 1739 the highwayman Dick Turpin was convicted at the York Grand Jury House of horse-stealing, and was hanged at the Knavesmire on 7 April 1739. Turpin is buried in the churchyard of St George's Church, where his tombstone also shows his alias, John Palmer.

 

In 1740, the city's first hospital, York County Hospital, opened in Monkgate and it moved into larger premises in 1745. The building was funded by public subscription. The building was expanded on the same site in 1851, and finally closed in 1976 when York District Hospital was opened.

 

In 1796 Quaker William Tuke founded The Retreat, a hospital for the mentally ill, situated in the east of the city outside the city walls, which used moral treatment.

 

The Yorkshire Museum was opened in 1830, and the British Association for the Advancement of Science held its first meeting here in 1831.

 

Largely thanks to the efforts of "Railway King" George Hudson, York became a major centre for the railways during the 19th century, a status it maintained well into the 20th century. The Colliergate drill hall was completed in 1872 and the Tower Street drill hall was completed in 1885.

 

On 29 April 1942, York was bombed as part of the retaliatory Baedeker Blitz by the German Luftwaffe; 92 people were killed and hundreds injured. Buildings damaged in the raid included the Railway Station, Rowntree's Factory, St Martin-le-Grand Church, the Bar Convent and the Guildhall which was completely gutted and not restored until 1960.

 

During the Cold War the headquarters of the Number 20 Group, Royal Observer Corps was moved to the newly constructed York Cold War Bunker in the Holgate area of town. It was opened on 16 December 1961, was in operation until 1991, and was then turned into a museum owned by English Heritage. In 1971 York was made an army Saluting Station, firing gun salutes five times a year such as the Queen's Birthday. The date marked 1900 years of army in York. The University of York was launched on sites at Heslington and the King's Manor and took its first students in 1963. In 1975 the National Railway Museum was opened, near the centre of York.

 

In October and November 2000 the River Ouse rose and York experienced very severe flooding; over 300 houses were flooded though no-one was seriously hurt.

Colonna Art Gallery.

 

The main gallery (completed 1703) and the masterful Colonna art collection was acquired after 1650 by both the cardinal Girolamo I Colonna and his nephew the Connestabile Lorenzo Onofrio Colonna and includes works by Lorenzo Monaco, Domenico Ghirlandaio, Palma the Elder, Salviati, Bronzino, Tintoretto, Pietro da Cortona, Annibale Carracci (painting of The Beaneater), Guercino, Francesco Albani, Muziano and Guido Reni. Ceiling frescoes by Filippo Gherardi, Giovanni Coli, Sebastiano Ricci, and Giuseppe Bartolomeo Chiari celebrate the role of Marcantonio II Colonna in the battle of Lepanto (1571). An Apotheosis of Martin V was painted by Benedetto Luti. There are frescoed apartments completed after 1664 by Crescenzio Onofri, Gaspard Dughet and Pieter Mulier II (nicknamed Cavalier Tempesta). Other rooms were frescoed in the 18th century by Pompeo Batoni and Pietro Bianchi.

 

The older wing of the complex known as the Princess Isabelle's apartments, but once housing Martin V's library and palace, contains frescoes by Pinturicchio, Antonio Tempesta, Crescenzio Onofri, Giacinto Gimignani, and Carlo Cesi. It contains a collection of landscapes and genre scenes by painters like Gaspard Dughet, Caspar Van Wittel (Vanvitelli), and Jan Brueghel the Elder.

 

Along with the possessions of the Doria-Pamphilij and Pallavacini-Rospigliosi families, this is one of the largest private art collection in Rome.

IPodography.

Via dei Carracci Bologna. Bologna 2011.

Shot with a Canon sx210is, processed with an IPod.

Roma Palazzo Farnese Rione Regola

The Palazzo Farnese was commissioned in 1514 by Cardinal Alessandro Farnese, who later reigned as Pope Paul III, and was designed by Antonio di Sangallo - though some of the windows and the cornice were designed by the great Michelangelo. It now serves as the French Embassy. Parts of the palace can be visited on guided tours, including the Farnese Gallery, with its fabulous ceiling painting by Annibale Carracci ('The Loves of the Gods'). This, sadly, cannot be photographed.

Bartolomeo Schedoni - The Rest on the Flight into Egypt

 

This exquisite panel has been identified by Kultzen as the second of two such compositions recorded in the 1685 collection of Cesare Ignazio d'Este, and later in the collection of Count Karl Josef Firmian, Austrian Governor General to Milan. The present work is of exceptional quality - its inventive composition is perfectly balanced, conveying the tranquility of the scene, and it exudes warmth through Schedoni's use of ethereal light and Correggesque colors.

 

Two versions of the present composition exist, the other now in the Museo di Capodimonte in Naples. Though compositionally the two are comparable, there are a number of marked stylistic variances: the drawing of the figures and drapery in the present panel is more angular and the contouring more defined; Saint Joseph's hand has been shifted to the top of the book in a display of impeccable foreshortening; and the angel is now turned in profile to show sharper and more refined features. Furthermore, the scheme of light is intensified and the contrast more acute. The light falls from left to right, bathing the Christ child, and causing a play of shadows across the picture, softening the faces of the Madonna and Saint Joseph and creating a pleasing sfumato effect. Utili notes the development of these luminescent contrasts as a signifier of Schedoni's mature phase. The Rest on the Flight into Egypt shows strong influence of the innovations of Ludovico Carracci and this stylistic progression, utilizing preternatural light and crisper forms, has led to a possible dating of 1613-1614, three to fours years after the execution of the Neapolitan panel.

 

In both versions, Dallasta and Cecchini have connected the treatment of Saint Joseph, with his rapt expression and balding head, to that in the Holy Family painted for the Capuccin convent in Fontevivo (now in the Museo di Capodimonte collection, Naples). The profile view of the Virgin, her head tilted downwards, appears to be derived from Correggio's Gypsy and the Mystic Marriage of Saint Catherine, both originally in the Farnese collection (now in the Museo di Capodimonte, Naples). The pose of the Virgin recurs also in Schedoni's Virgin and Child with Saints John the Baptist and Francis of Assisi, now in the Pinacoteca di Brera and in Charity, now in the Museo di Capodimonte in Naples.

 

The son of a mask maker for the Farnese and Este courts, Schedoni's precocity as a painter was recognized by Ranuccio I, Duke of Parma, who sent him to Rome to train under Federico Zuccaro. In the Farnese archives a letter survives from Zuccaro to the Duke dated 1595, informing him that his student was to return to Parma for convalescence due to "una malatia che accenna lunghezza." Schedoni's early work shows little of his Roman master's influence, instead he appears to have drawn his inspiration from within Emilia, most notably from studying the work of Correggio and later of Lodovico Carracci in Parma. Following his banishment for an altercation with Aurelio Foghetti in 1600, Schedoni was employed by the Court of Cesare d'Este in Modena where he worked for seven years. In December 1607, however, the artist returned to favor and was accepted once more by the Court of Rannuccio I as the Duke's favorite painter. By 1611 Schedoni's work was so highly esteemed that the Duke decreed no painting by his hand should be allowed to leave the city. Receipts and records from the Farnese collection show that at the time the present panel was executed, the artist was working almost exclusively for Rannuccio I. It seems for the rest of his career Schedoni rarely left his native province, though limitless access to the Farnese and d'Este collections ensured he was mindful of the advances of artists beyond Emilia and his work remained innovative until his death in 1615.

 

www.sothebys.com/en/auctions/ecatalogue/2012/important-ol...

[Una versión más legible se encontrará en la entrada correspondiente del blog, cuyo enlace se señala a continuación]

 

enriqueviolanevado.blogspot.com/2021/04/estadisticas-de-l...

 

El actual modelo de examen de Historia del Arte en Andalucía se remonta al curso 2016-2017. En aquel entonces se realizaron los siguientes cambios:

 

- La clasificación y comentario de las obras de arte fueron sustituidas por un breve cuestionario [«pregunta semiabierta»] sobre la misma.

- El sistema de calificación se alteró. De valorar hasta 2,5 cada ejercicio, las preguntas de teoría ascendieron a tres puntos y las prácticas (las obras de artes) perdieron la equivalencia y se quedaron en dos puntos.

- El temario también sufrió alteraciones. Fueron eliminados los temas de arte prehistórico, arte egipcio y arte mudéjar. Se agregó en cambio, el arte de la segunda mitad del siglo XX. Señalar que el arte mudéjar nunca había sido escogido para figurar en los exámenes, ya fuera como pregunta o como obra de arte para clasificar y comentar.

- Las dos opciones del examen cambiaron también sus ámbitos. La opción «A» se extiende ahora desde el arte griego hasta Goya y la opción «B» abarca desde el arte románico hasta el arte de la segunda mitad del siglo XX.

 

Para el curso 2019-2020 la estructura de cuatro preguntas teóricas y cuatro imágenes con cuestionario se mantuvo, pero el examen solo tenía una opción y el estudiante podía escoger las preguntas de desarrollo y las preguntas de cuestiones que considerase más oportuno, siempre que redacte dos de las primeras y dos de la segunda. Esta disposición, que no altera en lo sustancial el examen, se mantendrá también para el presente curso 2020-2021.

 

Desde el curso 2001 se han producido varias transformaciones en la estructura de la prueba y sus exigencias, pero ninguna tan radical como la que analizamos. De hecho, debe contemplarse no como una reforma, sino como un modelo nuevo. Las estadísticas de sus contenidos, deben comenzar, obviamente, desde cero.

 

En el curso 2016-2017, en el que el nuevo modelo inicio su andadura, se aseguró en las reuniones de la Ponencia que en las pruebas de ese año no aparecerían preguntas u obras de arte que no hubieran sido escogidas anteriormente. Y así fue. Pero se recalcó que aquella norma no se iba a observar en años posteriores y, efectivamente, en el curso 2017-2018 se detectaron algunas novedades. En los dos años académicos siguientes esas novedades han ido a más. De hecho, es ya una evidencia que pueden ser escogidas obras inéditas en el repertorio 2001-2016 y que han dejado de existir restricciones para escoger el arte de la segunda mitad del siglo XX tanto en la parte teórica como en la práctica.

 

Redactada ya la introducción, vamos a exponer el método con el que hemos realizado nuestros cálculos:

 

- Consideramos como séptima propuesta el ejemplo o modelo de prueba con el que se ha enseñado la adaptación que iba a realizarse. Ciertamente no es un examen, pero bien puede servir como tal. Por lo demás, no existe mucha diferencia entre una propuesta de reserva que se queda en el limbo y un modelo de prueba. Señalemos que en el caso de Historia de Arte en ambos ejemplos (el de 2017 y el de 2020) aparecen preguntas e imágenes que no se recogen en las pruebas definitivas.

- Denominamos «imágenes» a la obra de arte con cuestionario, pregunta semiabierta o ejercicio práctico. De esta forma evitamos repeticiones innecesarias.

- Consideramos como obras de arte u imágenes distintas los siguientes casos:

a)El interior y el exterior de un mismo edificio.

b)Una vista del exterior de un edificio y un detalle de su fachada.

c)La fachada o portada de un edificio y un detalle de su frontón o tímpano.

d)Distintos fragmentos de un friso.

e)Un tríptico o políptico y la reproducción de una de sus tablas.

f)Diferentes versiones elaboradas por el pintor de un mismo cuadro.

Vaya por delante que esta casuística que se ha ido documentando en el repertorio antiguo (2001-2016) todavía no ha necesitado aplicarse en el repertorio nuevo.

- Respecto a las preguntas, debe tenerse en cuenta que las cuestiones aparecen con notables variantes entre unas pruebas y otras. Cuando estas variaciones implican cambios en el contenido las hemos recogido como preguntas distintas. Estos cambios oscilan entre que la cuestión aparezca bien con todos sus contenidos o bien con una reducción de los mismos.

En principio, y por la misma regla de tres, se podrían fusionar dos preguntas distintas para comprobar la capacidad de síntesis de los alumnos. En el examen junio de 2013 se optó por esta mixtura y fue tal el desastre que la Ponencia se ha comprometido (verbalmente) a no volverla a emplear.

El número de preguntas del temario asciende a cuarenta y seis. Algunas de ellas han aparecido en los exámenes siempre fragmentadas (en especial las de renacimiento italiano que abarcan las tres nobles artes). Otras llevan desde 2001 sin conseguir ni siquiera una elección para las propuestas (en especial las introductorias de cada examen).

- Nuestras estadísticas procuran ser exhaustivas sobre los contenidos de las propuestas y modelos de pruebas del período 2017-2020. Deben valorarse, pues, como repertorios de pruebas pasadas, no como prospectivas de exámenes del futuro. Efectivamente, de su lectura pueden extraerse tendencias y líneas generales, pero siempre van a existir sorpresas en cada propuesta. Esta entrada debe servir más para la planificación del curso que para preparar la selectividad.

Pasando ya a las cifras, cuatro juegos de exámenes con seis propuestas distintas (2017, 2018, 2019 y 2020), más dos modelos de pruebas (2017 y 2020) cada uno de ellos con cuatro preguntas y cuatro imágenes, suponen 104 cuestiones teóricas y otras tantas reproducciones obras de arte. Una vez identificadas se reducen a 36 preguntas (contando como distintas las fraccionadas) y 52 imágenes.

 

Obviamente, muchas preguntas e imágenes se repiten. De hecho las reiteraciones se producen incluso dentro de un mismo juego de exámenes. Esta práctica es un despropósito, pues los mismos contenidos pueden ser elegidos para la prueba ordinaria y la extraordinaria. Creemos que la Ponencia debería valorar todo el temario y todo el repertorio de obras de arte por igual, pero, desde luego, no va por ese camino.

 

En las propuestas y modelo de prueba de 2017, obviamente todos los contenidos deben considerarse como nuevos. En las demás se van sumando novedades. De esta forma en 2017 las imágenes ascendieron a 25 (28 si se añaden las repeticiones), en 2018 se contabilizaron 11 novedades y otras once inéditas en 2019. En 2020 la cifra resultó sorprendentemente escuálida: únicamente 4. Respecto a las preguntas, en 2017 fueron 21 (debieran ser 28 contando las reiteradas), en 2018 se añadieron 5, al año siguiente se contaron 6 nuevas y en 2020 las incorporaciones ascendieron a 4. El ritmo descendente de las novedades revela que se va creando un repertorio de contenidos que tiende a mantenerse en las sucesivas pruebas.

 

El repertorio de imágenes de las propuestas de examen (y modelos de pruebas) de Historia del Arte desde 2017 a 2020 ordenados por estilo es el siguiente:

 

1. Exterior del Partenón, obra de Ictino, Calícrates y Fidias.

2. El Kuros de Anávisos.

3. El Doríforo de Policleto.

4. El Hermes con Dionisos niño de Praxíteles.

5. El Apoxiómenos de Lisipo.

6. La Victoria de Samotracia.

7. La Maisón Carrée de Nimes.

8. El Augusto de Prima Porta.

9. Mosaico de Justiniano de San Vital de Rávena.

10. Interior de la mezquita-catedral de Córdoba.

11. El Patio de Comares o de los Arrayanes de la Alhambra.

12. El Patio de los Leones de la Alhambra.

13. El Pórtico de la Gloria de la catedral de Santiago de Compostela del Maestro Mateo.

14. El Pantocrátor de San Clemente de Tahull.

15. Fachada de la Catedral de Reims.

16. La Sainte Chapelle de París.

17. El Matrimonio Arnolfini de Jan van Eyck.

18. La Catedral de Florencia.

19. El Condottiero Gattamelata de Donatello.

20. El Templete de San Pietro in Montorio de Brunelleschi.

21. La Piedad del Vaticano de Miguel Ángel.

22. El Moisés de Miguel Ángel.

23. La Virgen de las Rocas de Leonardo da Vinci.

24. La Escuela de Atenas de Rafael.

25. El Palacio de Carlos V en Granada.

26. El Martirio de la Legión Tebana del Greco.

27. El David de Gian Lorenzo Bernini.

28. El éxtasis de Santa Teresa de Gian Lorenzo Bernini.

29. Las tres Gracias de Rubens.

30. La Lección de Anatomía del Doctor Nicolaes Pulp de Rembrandt.

31. La Inmaculada del Facistol de Alonso Cano.

32. El Aguador de Sevilla de Velázquez.

33. Las Meninas de Velázquez.

34. Las Hilanderas de Velázquez.

35. La Sagrada Familia del Pajarito de Murillo.

36. La Inmaculada de los Venerables de Murillo.

37. El Juramento de los Horacios de Jacques-Louis David.

38. La muerte de Marat de Jacques-Louis David.

39. El Quitasol de Goya.

40. La familia de Carlos IV de Goya.

41. Los Fusilamientos del tres de mayo de Goya.

42. La Basílica de la Sagrada Familia de Gaudí.

43. Baile en el Moulin de la Galette de Renoir.

44. La visión tras el sermón de Gauguin.

45. La Noche Estrellada de Vincent van Gogh.

46. La Villa Saboya de Le Corbusier.

47. La Casa de la Cascada de Frank Lloyd Wright.

48. El Profeta de Pablo Gargallo.

49. Las señoritas de Avignon de Picasso.

50. El Guernica de Picasso.

51. El Museo Gunggenheim de Bilbao de Frank O. Gehry.

52. Gran Vía de Madrid de Antonio López.

 

Este listado puede emplearse como un repertorio básico para el alumno. Puede empezar a estudiar por él y puede repasarlo en la víspera del examen de selectividad. El profesor, en cambio, debe recurrir a un corpus mucho más amplio para instruir al alumno a lo largo del curso.

 

Este corpus o canon debiera incluir todas las imágenes de las propuestas de examen desde el curso 2000-2001. No figuran las obras de arte correspondientes a la Prehistoria y al Antiguo Egipto por haberse eliminado esos temas del programa de la asignatura a partir del curso 2016-2017. El arte mudéjar también fue excluido en aquella misma reforma, pero ningún monumento de este estilo llega a ser escogido para las pruebas de la selectividad andaluza, como ya hemos indicado. Se documentan así unas 150 obras, número sostenible con un desarrollo correcto del programa de la asignatura:

 

1. Exterior del Partenón, obra de Ictino, Calícrates y Fidias.

2. Fachada del Partenón, obra de Ictino, Calícrates y Fidias.

3. El Kuros de Anávisos.

4. El Doríforo de Policleto.

5. El Diadúmeno de Policleto.

6. Fragmento del frontón oriental del Partenón con Hestia, Dione y Afrodita, obra de Fidias.

7. Fragmento del Friso de las Panateas con las figuras de las Ergastinas, obra de Fidias.

8. El Hermes con Dionisos niño de Praxíteles.

9. El Apoxiómenos de Lisipo.

10. La Victoria de Samotracia.

11. Laocoonte y sus hijos, obra de Agesandro, Polidoro y Atenodoro.

12. La Maisón Carrée de Nimes.

13. Interior del Panteón de Agripa.

14. Teatro romano de Mérida.

15. El Coliseo.

16. El anfiteatro de Itálica.

17. El acueducto de los Milagros de Mérida.

18. El Arco de Constantino.

19. El Augusto de Prima Porta.

20. La escultura ecuestre de Marco Aurelio.

21. Detalle del friso del Ara Pacis: Los senadores.

22. Detalle del friso del Ara Pacis: La familia imperial.

23. Interior de la iglesia de Santa Sabina de Roma.

24. Interior de Santa Sofía de Constantinopla de Isidoro de Mileto y Antemio de Tralles.

25. Mosaico del emperador Justiniano y su séquito de San Vital de Rávena.

26. Mosaico de la emperatriz Teodora y su cortejo de San Vital de Rávena.

27. Interior de la mezquita-catedral de Córdoba.

28. Macsura y mihrab de la mezquita-catedral de Córdoba.

29. Lucernario del mihrab de la Mezquita de Córdoba.

30. La Giralda.

31. La Torre del Oro.

32. El Patio de Comares o de los Arrayanes de la Alhambra.

33. El Patio de los Leones de la Alhambra.

34. Planta de la catedral de Santiago de Compostela.

35. Claustro de Santo Domingo de Silos.

36. Portada de la iglesia abacial de Moissac.

37. Tímpano de la portada de iglesia abacial de Moissac.

38. El Pórtico de la Gloria de la catedral de Santiago de Compostela del Maestro Mateo.

39. El Pantocrátor de San Clemente de Tahull.

40. Maiestas Mariae de Santa María de Tahull.

41. Estructura de una catedral gótica clásica.

42. Exterior de la Catedral de Notre Dame, París.

43. Interior de la Catedral de Reims.

44. Fachada de la Catedral de Reims.

45. Interior de la Sainte Chapelle de París.

46. Exterior de la Catedral de León.

47. El Palazzo Pubblico o Palacio Comunal de Siena.

48. El tríptico de la Anunciación de Simone Martini y Lippo Memmi.

49. Tabla de la Anunciación de Simone Martini (detalle del tríptico).

50. El Políptico del Cordero Místico de Hubert y Jan van Eyck.

51. Tabla de la Adoración del Cordero Místico de Hubert y Jan van Eyck (detalle del políptico).

52. El Matrimonio Arnolfini de Jan van Eyck.

53. La Catedral de Florencia de Arnolfo di Cambio y Filippo Brunelleschi.

54. Exterior de la cúpula de la catedral de Florencia de Filippo Brunelleschi.

55. Fachada de San Andrés de Mantua de Alberti.

56. El Condottiero Gattamelata de Donatello.

57. La Anunciación (Museo del Prado) de Fra Angélico.

58. La Trinidad de Massaccio.

59. La Primavera de Botticelli.

60. El Nacimiento de Venus de Botticelli.

61. El Templete de San Pietro in Montorio de Brunelleschi.

62. Las escaleras de la Biblioteca Laurenziana de Miguel Ángel (Florencia).

63. La Villa Capra o Rotonda de Andrea Palladio.

64. La Piedad del Vaticano de Miguel Ángel.

65. El David de Miguel Ángel.

66. El Moisés de Miguel Ángel.

67. La Virgen de las Rocas de Leonardo da Vinci.

68. La Gioconda o Mona Lisa de Leonardo da Vinci.

69. La Escuela de Atenas de Rafael.

70. La Bacanal de los Andrios de Tiziano.

71. Patio del Palacio de Carlos V en Granada de Pedro Machuca.

72. Monasterio de San Lorenzo de El Escorial de Juan de Herrera.

73. El sacrificio de Isaac de Alonso de Berruguete.

74. El Expolio de Cristo del Greco.

75. El Martirio de la Legión Tebana del Greco.

76. El Entierro del Señor de Orgaz del Greco.

77. El Baldquino de la basílica de San Pedro del Vaticano de Gian Lorenzo Bernini.

78. Plaza de San Pedro del Vaticano de Gian Lorenzo Bernini.

79. Fachada de San Carlo alle Quattro Fontane de Borromini.

80. Exterior del palacio de Versalles de Louis le Vau, François d'Orbay y Jules Hardouin-Mansart

81. El David de Gian Lorenzo Bernini.

82. Apolo y Dafne de Gian Lorenzo Bernini.

83. El éxtasis de Santa Teresa de Gian Lorenzo Bernini.

84. La Vocación de San Mateo de Caravaggio.

85. La Cena de Emaús (Versión de la National Gallery) de Caravaggio.

86. Las tres Gracias de Rubens.

87. La Lección de Anatomía del Doctor Nicolaes Pulp de Rembrandt.

88. La Ronda de Noche de Rembrandt,

89. Fachada principal de la catedral de Murcia de Jaime Bort.

90. Cristo yacente (Museo del Prado) de Gregorio Fernández.

91. El Cristo de la Clemencia de Juan Martínez Montañés.

92. La Inmaculada ‘La Cieguecita’ de Juan Martínez Montañés.

93. Jesús del Gran Poder de Juan de Mesa.

94. La Inmaculada del Facistol de Alonso Cano.

95. El Paso de la Oración en el Huerto de Francisco Salzillo.

96. El martirio de San Felipe de Ribera.

97. San Hugo en el refectorio de los Cartujos de Zurbarán.

98. Vieja friendo huevos de Velázquez.

99. El Aguador de Sevilla de Velázquez.

100. La fragua de Vulcano de Velázquez.

101. Las lanzas o la Rendición de Breda de Velázquez.

102. El Papa Inocencio X de Velázquez.

103. Las Meninas o la Familia de Felipe IV de Velázquez.

104. La Fábula de Aracné o las Hilanderas de Velázquez.

105. Niño espulgándose de Murillo.

106. La Sagrada Familia del Pajarito de Murillo.

107. Niños comiendo pastel de Murillo.

108. La Inmaculada de los Venerables de Murillo.

109. Fachada del Museo del Prado de Juan de Villanueva.

110. El Juramento de los Horacios de Jacques-Louis David.

111. La muerte de Marat de Jacques-Louis David.

112. El Quitasol de Goya.

113. La maja desnuda de Goya.

114. La familia de Carlos IV de Goya.

115. Los Fusilamientos del tres de mayo de Goya.

116. El 28 de Julio - La libertad guiando al pueblo de Delacroix.

117. La Torre Eiffel.

118. La fachada de la Casa Mila o la Pedrera de Gaudí.

119. La Basílica de la Sagrada Familia de Gaudí.

120. Impresión, sol naciente de Monet.

121. La Catedral de Ruán, el portal a pleno sol de Monet.

122. Baile en el Moulin de la Galette de Renoir.

123. La Clase de Danza (1871, Metropolitan Museum) de Degas.

124. El pensador de Rodin.

125. El beso de Rodin.

126. Los burgueses de Calais de Rodin.

127. Monumento a Balzac de Rodin.

128. Los jugadores de cartas (Museo de Orsay) de Cezanne.

129. La Montaña Santa Victoria desde la carretera de Tholonet (Hermitage) de Cezanne.

130. La visión tras el sermón o la Lucha de Jacob con el Ángel de Paul Gauguin.

131. Los Girasoles (Versión de la Neue Pinakothek de Múnich) de Vincent van Gogh.

132. El café de noche de Vincent van Gogh.

133. El dormitorio del pintor en Arlés (Versión del Museo de Orsay) de Vincent van Gogh.

134. La Noche Estrellada de Vincent van Gogh.

135. La iglesia de Auvers-sur-Oise de Vicent van Gogh.

136. La Villa Saboya de Le Corbusier.

137. Capilla de Notre-Dame du Haut de Le Corbusier.

138. La Casa Kaufmann o Casa de la Cascada de Frank Lloyd Wright.

139. Exterior del Museo Guggenheim de Nueva York de Frank Lloyd Wright.

140. Interior del Museo Guggenheim de Nueva York de Frank Lloyd Wright.

141. El Profeta de Pablo Gargallo.

142. Madame Mattise - La raya verde de Henri Matisse.

143. La Danza (versión del Hermitage) de Henri Matisse.

144. Las señoritas de Avignon de Pablo Picasso.

145. Naturaleza muerta con asiento de rejilla de Pablo Picasso.

146. El Guernica de Pablo Picasso.

147. La persistencia de la memoria – Los relojes blandos de Salvador Dalí.

148. El Museo Gunggenheim de Bilbao de Frank O. Gehry.

149. Gran Vía de Madrid de Antonio López.

 

Como la publicación de las pruebas de 2001 y de las 2002 no incluyó todas las propuestas, pueden existir imágenes que no queden reflejadas en este catálogo. Por el contrario, las siguientes obras parecen pertenecer a estas pruebas inéditas, pero no podemos afirmarlo con completa seguridad:

 

1. Mosaico de la emperatriz Teodora y su cortejo de San Vital de Rávena.

2. Las escaleras de la Biblioteca Laurenziana de Miguel Ángel (Florencia).

3. Monumento a Balzac de Rodin.

 

Si ordenamos las imágenes aparecidas en las propuestas y ejemplos de pruebas del actual modelo de examen por número de apariciones (que va entre paréntesis) el escalafón sería el siguiente:

 

1. La Casa de la Cascada de Frank Lloyd Wright (7).

2. La Villa Saboya de Le Corbusier (6).

3. El Hermes con Dionisos niño de Praxíteles (5).

4. La Escuela de Atenas de Rafael (4).

5. La familia de Carlos IV de Goya (4).

6. Exterior del Partenón, obra de Ictino, Calícrates y Fidias (3).

7. El Doríforo de Policleto (3).

8. El Patio de los Leones de la Alhambra (3).

9. El Pantocrátor de San Clemente de Tahull (3).

10. La Piedad del Vaticano de Miguel Ángel (3).

11. El David de Gian Lorenzo Bernini (3).

12. Las tres Gracias de Rubens (3).

13. El Aguador de Sevilla de Velázquez (3).

14. Baile en el Moulin de la Galette de Renoir (3).

15. La Maisón Carrée de Nimes (2).

16. El Augusto de Prima Porta (2).

17. Interior de la mezquita-catedral de Córdoba (2).

18. El Patio de Comares o de los Arrayanes de la Alhambra (2).

19. El Pórtico de la Gloria de la catedral de Santiago de Compostela del Maestro Mateo (2).

20. El Condottiero Gattamelata de Donatello (2).

21. El Templete de San Pietro in Montorio de Brunelleschi (2).

22. El Moisés de Miguel Ángel (2).

23. El éxtasis de Santa Teresa de Gian Lorenzo Bernini (2).

24. Los Fusilamientos del tres de mayo de Goya (2).

25. La Basílica de la Sagrada Familia de Gaudí (2).

26. El Guernica de Picasso (2).

27. El Museo Gunggenheim de Bilbao de Frank O. Gehry (2).

28. El Kuros de Anávisos (1).

29. El Apoxiómenos de Lisipo (1).

30. La Victoria de Samotracia (1).

31. Mosaico de Justiniano de San Vital de Rávena (1).

32. Fachada de la Catedral de Reims (1).

33. La Sainte Chapelle de París (1).

34. El Matrimonio Arnolfini de Jan van Eyck (1).

35. La Catedral de Florencia (1).

36. La Virgen de las Rocas de Leonardo da Vinci (1).

37. El Palacio de Carlos V en Granada (1).

38. El Martirio de la Legión Tebana del Greco (1).

39. La Lección de Anatomía del Doctor Nicolaes Pulp de Rembrandt (1).

40. La Inmaculada del Facistol de Alonso Cano (1).

41. Las Meninas de Velázquez (1).

42. Las Hilanderas de Velázquez (1).

43. La Sagrada Familia del Pajarito de Murillo (1).

44. La Inmaculada de los Venerables de Murillo (1).

45. El Juramento de los Horacios de Jacques-Louis David (1).

46. La muerte de Marat de Jacques-Louis David (1).

47. El Quitasol de Goya (1).

48. La visión tras el sermón de Gauguin (1).

49. La Noche Estrellada de van Gogh (1).

50. El Profeta de Pablo Gargallo (1).

51. Las señoritas de Avignon de Picasso (1).

52. Gran Vía de Madrid de Antonio López (1).

 

Este listado no debe contemplarse como un cálculo de las probabilidades de la aparición en los exámenes de cada imagen. Para empezar porque cuenta todas las propuestas, y una propuesta es, realmente, un examen no realizado o un proyecto de examen. Si realizamos un listado de las obras que han aparecido en los exámenes titulares de las convocatorias ordinaria y extraordinaria, la panoplia de obras varía bastante:

 

1. Exterior del Partenón, obra de Ictino, Calícrates y Fidias.

2. El Kuros de Anávisos.

3. El Hermes con Dionisos niño de Praxíteles.

4. La Maisón Carrée de Nimes.

5. El Patio de Comares o de los Arrayanes de la Alhambra.

6. El Patio de los Leones de la Alhambra.

7. El Pantocrátor de San Clemente de Tahull.

8. Fachada de la Catedral de Reims.

9. La Sainte Chapelle de París.

10. El Templete de San Pietro in Montorio de Brunelleschi.

11. La Piedad del Vaticano de Miguel Ángel.

12. El Palacio de Carlos V en Granada.

13. El David de Gian Lorenzo Bernini.

14. Las tres Gracias de Rubens.

15. La Inmaculada del Facistol de Alonso Cano.

16. El Juramento de los Horacios de Jacques-Louis David.

17. La familia de Carlos IV de Goya.

18. Los Fusilamientos del tres de mayo de Goya.

19. La Basílica de la Sagrada Familia de Gaudí.

20. Baile en el Moulin de la Galette de Renoir.

21. La Noche Estrellada de Vincent van Gogh.

22. La Casa de la Cascada de Frank Lloyd Wright.

23. El Guernica de Picasso.

 

Y si ordenamos esta selección de imágenes por el número de apariciones (que va entre paréntesis) en los exámenes titulares el ranking difiere bastante del anterior escalafón:

 

1. La Casa de la Cascada de Frank Lloyd Wright (4).

2. El Hermes con Dionisos niño de Praxíteles (2).

3. El Pantocrátor de San Clemente de Tahull (2).

4. El David de Gian Lorenzo Bernini (2).

5. La familia de Carlos IV de Goya (2).

6. Los Fusilamientos del tres de mayo de Goya (2).

7. La Basílica de la Sagrada Familia de Gaudí (2).

8. Exterior del Partenón, obra de Ictino, Calícrates y Fidias (1).

9. El Kuros de Anávisos (1).

10. La Maisón Carrée de Nimes (1).

11. El Patio de Comares o de los Arrayanes de la Alhambra (1).

12. El Patio de los Leones de la Alhambra (1).

13. Fachada de la Catedral de Reims (1).

14. La Sainte Chapelle de París (1).

15. El Templete de San Pietro in Montorio de Brunelleschi (1).

16. La Piedad del Vaticano de Miguel Ángel (1).

17. El Palacio de Carlos V en Granada (1).

18. Las tres Gracias de Rubens (1).

19. La Inmaculada del Facistol de Alonso Cano (1).

20. El Juramento de los Horacios de Jacques-Louis David (1).

21. Baile en el Moulin de la Galette de Renoir (1).

22. La Noche Estrellada de van Gogh (1).

23. El Guernica de Picasso (1).

 

Pasando a las preguntas, comenzaremos por la reproducción del temario, indicando las cuestiones que han aparecido, sus variantes y con el número de apariciones entre paréntesis.

 

1.ARTE GRIEGO

1.1.Introducción. Los órdenes.

1.2.El templo griego: el Partenón.

Esta pregunta ha aparecido en dos propuestas.

1.3.La escultura. El «kuros». Los grandes maestros de los siglos V y IV a. C. Policleto y Fidias. Praxíteles y Scopas. Lisipo y su canon.

Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:

- Escultura griega. Los grandes maestros del siglo V: Policleto y Fidias.

1.4.El periodo helenístico.

 

2.ARTE ROMANO

2.1. Arquitectura y ciudad.

2.2. Escultura. El retrato y el relieve histórico.

Esta pregunta ha aparecido en cuatro propuestas.

2.3. Explicar la ciudad romana: sus partes y construcciones más relevantes que la integran, explicando las distintas tipologías arquitectónicas.

 

3.ARTE PALEOCRISTIANO Y BIZANTINO

3.1. La nueva iconografía: la pintura de las catacumbas. La cristianización de la basílica.

3.2. Los edificios bizantinos y la cúpula: Santa Sofía.

Esta pregunta ha aparecido en cinco propuestas.

3.3. La decoración musivaria.

 

4.ARTE HISPANO - MUSULMÁN

4.1. Arte e Islam.

4.2. Arquitectura. Arte califal: la mezquita de Córdoba, arquitectura y decoración. La ciudad palatina de Medina Azahara.

Esta pregunta ha aparecido en una propuesta.

4.3. Arte almohade. El arte nazarí: la Alhambra y el Generalife.

Esta pregunta ha aparecido en cinco propuestas, empleándose estos enunciados:

- Arte nazarí: la Alhambra y el Generalife.

- El arte nazarí: la Alhambra y el Generalife.

 

5.ARTE ROMÁNICO

5.1. Introducción al románico.

5.2. Arquitectura. Elementos formales y soluciones constructivas. La iglesia de peregrinación y el monasterio.

Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:

- La iglesia de peregrinación y el monasterio románico.

5.3. Escultura y pintura.

Esta pregunta ha aparecido en cinco propuestas, empleándose estos enunciados:

- La escultura y la pintura románicas (4).

- La escultura románica (1).

 

6.ARTE GÓTICO

6.1. Características generales de la arquitectura gótica.

6.2. La ciudad: la catedral y los edificios civiles.

Esta pregunta ha aparecido en cuatro propuestas.

6.3. La escultura: portadas y retablos.

Esta pregunta ha aparecido en cuatro propuestas.

6.4. La pintura italiana del Trecento: Florencia y Siena.

Esta pregunta ha aparecido en dos propuestas.

6.5. Los primitivos flamencos del siglo XV: los hermanos Van Eyck.

Esta pregunta ha aparecido en cuatro propuestas.

 

7.ARTE RENACENTISTA Y MANIERISTA

7.1. Introducción al Renacimiento.

7.2. El «Quattrocento» italiano. Arquitectura: Brunelleschi y Alberti. Escultura: Donatello y Ghiberti. Pintura: Fra Angélico, Masaccio, Piero della Francesca y Botticelli.

Esta pregunta ha aparecido en cuatro propuestas, empleándose este enunciado:

- La escultura del Quattrocento italiano: Donatello y Ghiberti.

7.3. El «Cinquecento» y la crisis del Manierismo en Italia. Arquitectura: Bramante, Miguel Ángel y Palladio. Escultura: Miguel Ángel. Pintura: Leonardo, Rafael y Miguel Ángel. La escuela veneciana: Tiziano.

Esta pregunta ha aparecido en siete propuestas, empleándose estos enunciados:

- Escultura del Cinquecento italiano: Miguel Ángel (5).

- La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel (2).

7.4. España. Arquitectura: del Plateresco al Escorial. Escultura: los primeros imagineros: Berruguete y Juni. Pintura: El Greco.

Esta pregunta ha aparecido en cuatro propuestas, empleándose estos enunciados:

- La arquitectura renacentista española: del Plateresco al Escorial (3).

- La pintura del Renacimiento en España: el Greco (1).

 

8.ARTE BARROCO

8.1. La arquitectura en Italia y Francia. Las plantas alabeadas de Bernini y Borromini. El palacio clasicista francés: Versalles.

8.2. Escultura en Italia: Bernini.

Esta pregunta ha aparecido en siete propuestas.

8.3. Pintura en Italia. El naturalismo y los problemas de la luz: Caravaggio. El clasicismo en los frescos de los Carracci.

Esta pregunta ha aparecido en dos propuestas, empleándose estos enunciados:

- El naturalismo y los problemas de la luz: Caravaggio.

- La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci.

8.4. La pintura en Flandes y en Holanda: Rubens y Rembrandt.

Esta pregunta ha aparecido en cuatro propuestas.

8.5. La arquitectura barroca española. El urbanismo: la Plaza mayor.

Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:

- La arquitectura barroca española.

8.6. La gran imaginería: Andalucía, Castilla y Murcia.

Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:

- La gran imaginería barroca: Andalucía.

8.7. La pintura barroca. El naturalismo tenebrista: Ribera y Zurbarán. Realismo Barroco: Velázquez y Murillo.

Esta pregunta ha aparecido en dos propuestas.

 

9.ARTE NEOCLÁSICO

9.1. Características generales del Neoclasicismo. Las Academias.

9.2. Arquitectura: Juan de Villanueva. Escultura: Canova. Pintura: David.

Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:

- El Neoclasicismo. Arquitectura: Juan de Villanueva. Pintura: David.

 

10.EL SIGLO XIX: EL ARTE DE UN MUNDO EN TRANSFORMACIÓN

10.1. Francisco de Goya.

Esta pregunta ha aparecido en diez propuestas.

10.2. Introducción. Romanticismo: Delacroix. Realismo: Courbet.

10.3. Arquitectura. Historicismos. Edificios de hierro y cristal. El Modernismo.

Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:

- Arquitectura del XIX: El Modernismo.

10.4. Impresionismo: Monet, Renoir y Degas. Las esculturas de Rodin.

Esta pregunta ha aparecido en diez propuestas, empleándose estos enunciados:

- El impresionismo: Monet, Renoir, Degas.

- Las esculturas de Rodin.

10.5. Postimpresionismo: Cézanne, Gauguin y Van Gogh.

Esta pregunta ha aparecido en tres propuestas.

 

11.LA RUPTURA DE LA TRADICIÓN: EL ARTE EN LA PRIMERA MITAD DEL SIGLO XX

11.1. Escultura: innovaciones en materiales y técnicas.

Esta pregunta ha aparecido en dos propuestas.

 

11.2. La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright.

Esta pregunta ha aparecido en cinco propuestas, empleándose estos enunciados:

- La arquitectura del movimiento moderno. El Racionalismo: Le Corbusier (1).

- La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright (4).

11.3. La pintura. Las vanguardias históricas: Fauvismo, Cubismo, Expresionismo alemán, Dadaísmo y Surrealismo.

Esta pregunta ha aparecido en una propuesta con el siguiente enunciado:

- Las vanguardias históricas: Cubismo y Surrealismo.

 

12.LA UNIVERSALIZACIÓN DEL ARTE DESDE LA SEGUNDA MITAD DEL SIGLO XX.

12.1. La arquitectura al margen del «Estilo Internacional»: Posmodernidad, High-tech y Deconstructivismo.

Esta pregunta ha aparecido en una propuesta.

12.2. El minimalismo en la escultura.

12.3. El movimiento abstracto y sus tendencias pictóricas: el Expresionismo abstracto norteamericano, el Informalismo europeo y la Abstracción geométrica.

12.4. Las principales corrientes figurativas: Pop Art, «Nueva Figuración» e Hiperrealismo.

Como esta ordenación puede resultar confusa, adjuntamos una versión simplificada. Recordamos que algunas preguntas aparecen en las pruebas con enunciados reducidos pero distintos, refiriéndose uno a una disciplina artística y otro a otra, o bien a artistas diferentes. En estos casos se recopilarán como cuestiones distintas en esta recopilación.

 

1.ARTE GRIEGO

- El templo griego: El Partenón.

- Escultura griega. Los grandes maestros del siglo V: Policleto y Fidias.

 

2.ARTE ROMANO

- La escultura romana. El retrato y el relieve histórico.

 

3.ARTE PALEOCRISTIANO Y BIZANTINO

- Los edificios bizantinos y la cúpula: Santa Sofía.

 

4.ARTE HISPANO – MUSULMÁN

- Arte califal: la mezquita de Córdoba. Medina Azahara.

- El arte nazarí: La Alhambra y el Generalife.

 

5.ARTE ROMÁNICO

- La iglesia de peregrinación y el monasterio románico.

- La escultura románica.

- La escultura y la pintura románicas.

 

6.ARTE GÓTICO

- El arte gótico: la catedral y los edificios civiles.

- La escultura gótica: portadas y retablos.

- La pintura italiana del Trecento: Florencia y Siena.

- Los primitivos flamencos del siglo XV: los Van Eyck.

 

7.ARTE RENACENTISTA Y MANIERISTA

- La escultura del Quattrocento italiano: Donatello y Ghiberti.

- Escultura del Cinquecento italiano: Miguel Ángel.

- La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel.

- La arquitectura renacentista española: del Plateresco al Escorial.

- La pintura del Renacimiento en España: el Greco.

 

8.ARTE BARROCO

- La escultura barroca en Italia: Bernini.

- El naturalismo y los problemas de la luz: Caravaggio.

- La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci.

- La pintura en Flandes y en Holanda: Rubens y Rembrandt.

- La pintura barroca española. Realismo: Velázquez y Murillo.

- La arquitectura barroca española.

- La gran imaginería barroca: Andalucía

 

9.ARTE NEOCLÁSICO

- El Neoclasicismo. Arquitectura: Juan de Villanueva. Pintura: David.

 

10.EL SIGLO XIX: EL ARTE DE UN MUNDO EN TRANSFORMACIÓN

- Francisco de Goya.

- Arquitectura del XIX: El Modernismo.

- El impresionismo: Monet, Renoir, Degas.

- Las esculturas de Rodin.

- Postimpresionismo: Cézanne, Gauguin y Van Gogh.

 

11.LA RUPTURA DE LA TRADICIÓN: EL ARTE EN LA PRIMERA MITAD DEL SIGLO XX

- Escultura de la primera mitad del siglo XX: innovaciones en materiales y técnicas.

- La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright.

- La arquitectura del movimiento moderno. El Racionalismo: Le Corbusier.

- Las vanguardias históricas: Cubismo y Surrealismo.

 

12.LA UNIVERSALIZACIÓN DEL ARTE DESDE LA SEGUNDA MITAD DEL SIGLO XX.

-La arquitectura al margen del estilo internacional: posmodernidad, high-tech y deconstructivismo.

La misma enumeración, pero desprovista de los epígrafes del temario, quedaría así:

 

1.El templo griego: El Partenón.

2.Escultura griega. Los grandes maestros del siglo V: Policleto y Fidias.

3.La escultura romana. El retrato y el relieve histórico.

4.Los edificios bizantinos y la cúpula: Santa Sofía.

5.Arte califal: la mezquita de Córdoba. Medina Azahara.

6.El arte nazarí: La Alhambra y el Generalife.

7.La iglesia de peregrinación y el monasterio románico.

8.La escultura románica.

9.La escultura y la pintura románicas.

10.El arte gótico: la catedral y los edificios civiles.

11.La escultura gótica: portadas y retablos.

12.La pintura italiana del Trecento: Florencia y Siena.

13.Los primitivos flamencos del siglo XV: los Van Eyck.

14.La escultura del Quattrocento italiano: Donatello y Ghiberti.

15.Escultura del Cinquecento italiano: Miguel Ángel.

16.La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel.

17.La arquitectura renacentista española: del Plateresco al Escorial.

18.La pintura del Renacimiento en España: el Greco.

19.La escultura barroca en Italia: Bernini.

20.El naturalismo y los problemas de la luz: Caravaggio.

21.La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci.

22.La pintura en Flandes y en Holanda: Rubens y Rembrandt.

23.La arquitectura barroca española.

24.La gran imaginería barroca: Andalucía.

25.La pintura barroca española. Realismo: Velázquez y Murillo.

26.El Neoclasicismo. Arquitectura: Juan de Villanueva. Pintura: David.

27.Francisco de Goya.

28.Arquitectura del XIX: El Modernismo.

29.El impresionismo: Monet, Renoir, Degas.

30.Las esculturas de Rodin.

31.Postimpresionismo: Cézanne, Gauguin y Van Gogh.

32.Escultura de la primera mitad del siglo XX: innovaciones en materiales y técnicas.

33.La arquitectura del movimiento moderno. El Racionalismo: Le Corbusier.

34.La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright.

35.Las vanguardias históricas: Cubismo y Surrealismo.

36.La arquitectura al margen del estilo internacional: posmodernidad, high-tech y deconstructivismo.

 

Si ordenamos las preguntas aparecidas en las propuestas y ejemplos de pruebas del actual modelo de examen por número de apariciones (que va entre paréntesis) el escalafón sería el siguiente:

 

1. Francisco de Goya (10).

2. El impresionismo: Monet, Renoir, Degas (9).

3. La escultura barroca en Italia: Bernini (7).

4. El arte nazarí: La Alhambra y el Generalife (5).

5. Los edificios bizantinos y la cúpula: Santa Sofía (5).

6. Escultura del Cinquecento italiano: Miguel Ángel (5).

7. La escultura romana. El retrato y el relieve histórico (4).

8. La escultura y la pintura románicas (4).

9. El arte gótico: la catedral y los edificios civiles (4).

10. La escultura gótica: portadas y retablos (4).

11. Los primitivos flamencos del siglo XV: los Van Eyck (4).

12. La escultura del Quattrocento italiano: Donatello y Ghiberti (4).

13. La pintura en Flandes y en Holanda: Rubens y Rembrandt (4).

14. La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright (4).

15. La arquitectura renacentista española: del Plateresco al Escorial (3).

16. Postimpresionismo: Cézanne, Gauguin y Van Gogh (3).

17. El templo griego: El Partenón (2).

18. La pintura italiana del Trecento: Florencia y Siena (2).

19. La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel (2).

20. La pintura barroca española. Realismo: Velázquez y Murillo (2).

21. Escultura de la primera mitad del siglo XX: innovaciones en materiales y técnicas (2).

22. Escultura griega. Los grandes maestros del siglo V: Policleto y Fidias (1).

23. Arte califal: la mezquita de Córdoba. Medina Azahara (1).

24. La iglesia de peregrinación y el monasterio románico (1).

25. La escultura románica (1).

26. La pintura del Renacimiento en España: el Greco (1).

27. El naturalismo y los problemas de la luz: Caravaggio (1).

28. La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci (1).

29. La arquitectura barroca española (1).

30. La gran imaginería barroca: Andalucía (1).

31. El Neoclasicismo. Arquitectura: Juan de Villanueva. Pintura: David (1).

32. Arquitectura del XIX: El Modernismo (1).

33. Las esculturas de Rodin (1).

34. La arquitectura del movimiento moderno. El Racionalismo: Le Corbusier (1).

35. Las vanguardias históricas: Cubismo y Surrealismo (1).

36. La arquitectura al margen del estilo internacional: posmodernidad, high-tech y deconstructivismo (1).

 

Recordamos que los contenidos de las preguntas que lideran esta recopilación (Goya, los impresionistas, la escultura berninesca) también ocupan un lugar destacado en el ranking de obras de arte, por lo que el alumno que se presente a las pruebas deberá otorgarle una atención preferente. Pero seguidamente nos encontramos con la cuestión de la arquitectura bizantina que no ha figurado en ninguna de las pruebas de 2020 y es que, repetimos, este listado no debe contemplarse como un cálculo de las probabilidades de la aparición en los exámenes de cada imagen. Recordamos que cuenta todas las propuestas, y una propuesta es, realmente, un examen no realizado o un proyecto de examen. Si realizamos un listado de las preguntas que han aparecido en los exámenes titulares de las convocatorias ordinaria y extraordinaria, el panorama se revela bastante distinto:

 

1.La escultura romana. El retrato y el relieve histórico.

2.Los edificios bizantinos y la cúpula: Santa Sofía.

3.El arte nazarí: La Alhambra y el Generalife.

4.La iglesia de peregrinación y el monasterio románico.

5.La escultura y la pintura románicas.

6.El arte gótico: la catedral y los edificios civiles.

7.Los primitivos flamencos del siglo XV: los Van Eyck.

8.La escultura del Quattrocento italiano: Donatello y Ghiberti.

9.Escultura del Cinquecento italiano: Miguel Ángel.

10.La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel.

11.La escultura barroca en Italia: Bernini.

12.La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci.

13.La pintura en Flandes y en Holanda: Rubens y Rembrandt.

14.La pintura barroca española. Realismo: Velázquez y Murillo.

15.Francisco de Goya.

16.El impresionismo: Monet, Renoir, Degas.

17.Postimpresionismo: Cézanne, Gauguin y Van Gogh.

18.Escultura de la primera mitad del siglo XX: innovaciones en materiales y técnicas.

19.La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright.

20.Las vanguardias históricas: Cubismo y Surrealismo.

 

Estas veinte preguntas pueden servir como una selección del temario apta como preparatorio para selectividad. Y si ordenamos esta selección de cuestiones por el número de apariciones (que va entre paréntesis) en los exámenes titulares el ranking muestra enormes diferencias con el escalafón anterior (el que incluía todas las propuestas):

 

1.La escultura romana. El retrato y el relieve histórico (3).

2.Los primitivos flamencos del siglo XV: los Van Eyck (3).

3.La escultura barroca en Italia: Bernini (3).

4.Los edificios bizantinos y la cúpula: Santa Sofía (2).

5.El arte nazarí: La Alhambra y el Generalife (1).

6.La iglesia de peregrinación y el monasterio románico (1).

7.La escultura y la pintura románicas (1).

8.El arte gótico: la catedral y los edificios civiles (1).

9.La escultura del Quattrocento italiano: Donatello y Ghiberti (1).

10.Escultura del Cinquecento italiano: Miguel Ángel (1).

11.La pintura del Cinquecento italiano: Leonardo, Rafael y Miguel Ángel (1).

12.La pintura barroca en Italia. El naturalismo y los problemas de la luz. Caravaggio. El clasicismo en los frescos de los Carracci (1).

13.La pintura en Flandes y en Holanda: Rubens y Rembrandt (1).

14.La pintura barroca española. Realismo: Velázquez y Murillo (1).

15.Francisco de Goya (1).

16.El impresionismo: Monet, Renoir, Degas (1).

17.Postimpresionismo: Cézanne, Gauguin y Van Gogh (1).

18.Escultura de la primera mitad del siglo XX: innovaciones en materiales y técnicas (1).

19.La arquitectura del movimiento moderno. Racionalismo: Le Corbusier. Organicismo: Frank Lloyd Wright (1).

20.Las vanguardias históricas: Cubismo y Surrealismo (1).

 

Para las pruebas de 2021 no esperamos cambios sustanciales a todo lo expuesto. Calculamos que las preguntas y las imágenes nuevas que se incorporen no superarán los cinco o seis casos, teniendo en cuenta la tendencia decreciente que se observa en las novedades. No debemos olvidar que la pandemia sigue afectando a nuestros centros escolares, y aunque no sea con la gravedad del curso anterior, sus efectos resultan bastante adversos. Esta circunstancia puede traducirse en la selección de contenidos más asequibles para el alumno y en un aumento de las repeticiones de los contenidos, o, al menos, el mantenimiento de su elevada frecuencia.

 

Estas son nuestras previsiones, pero son eso, previsiones, no certezas. En palabras de Michael Crichton «No podemos evaluar el futuro, ni podemos predecirlo. Estos son eufemismos. Solo podemos hacer suposiciones. Una suposición bien fundada sigue siendo solo una suposición.»

 

________________________________________________

 

La obra que hemos escogido como encabezamiento es Exposición de bellas artes en Varsovia en 1828. Su autor es el polaco Wincenty Kasprzycki quien la concluye en ese mismo año. Se trata de un óleo pintado sobre lienzo que mide 111 x 94,5 centímetros. Se conserva en el Museo Nacional de Varsovia.

 

La imagen y los datos sobre ella proceden de la siguiente página:

 

artsandculture.google.com/asset/fine-art-exhibition-in-wa...

 

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.

1606. Aiguafort. 17,6 x 13,2 cm. The Michael C. Carlos Museum a Emory University, Atlanta 2007.028.001. Obra no exposada.

Modena.

Palazzo Musei.

 

1st left -

 

Madonna col Bambino e i santi Pellegrino, Carlo Borromeo e Nicola di Bari

Pesari Giovanni Battista (Sassuolo, 1604 - Modena, notizie fino al 1637)

Olio su tela, 270 x 230 cm

www.flickr.com/photos/bramhall/50828599841/in/dateposted/

Provenance: Modena, chiesa di San Paolo; Modena, Accademia di Belle Arti, ante 1802; Modena, Palazzo dei Musei (inventariato in R.C.G.E. nel 1884)

 

Giovan Battista Pesari è un artista riscoperto solo in tempi recenti, e questa pala d’altare costituisce il suo capolavoro. Fu al servizio del duca Francesco I d’Este, quando collaborò alle copie di una famosa coppia di ritratti del Guercino, ma per il resto si conoscono poche sue opere, dato che morì giovane a Modena a seguito di un episodio violento. Qui si dimostra capace di una nobiltà espressiva basata su un’interpretazione luminosa e serena dei grandi modelli emiliani, da Guido Reni, allo stesso Guercino, al suo rivale in città Ludovico Lana.

  

2nd left -

 

La Madonna presenta il Bambino al beato Felice da Cantalice

Barbieri Giovan Francesco detto Guercino (Cento, 1591 - Bologna, 1666)

www.flickr.com/photos/bramhall/50827850403/in/dateposted/...: sec. sec. XVII (1641 - 1641)

Olio su tela, 279 x 180 cm

 

Provenance: Castelnuovo di Garfagnana (LU), chiesa di San Pietro, 1641; Modena, chiesa dei Cappuccini, post 1644; Parigi, Musée Napoleon, 1796; Modena, Palazzo Ducale, 1815; Modena, Palazzo dei Musei, 1894 (inventariato in R.C.G.E. nel 1924).

 

Felice Porri fu un frate cappuccino vissuto in alto Lazio nel Cinquecento, che si distinse nelle attività caritatevoli divenendo una figura emblematica del suo Ordine. Non a caso quest’opera fu commissionata dal cappuccino Giambattista da Modena (ex duca Alfonso III d’Este), per il convento a Castelnuovo di Garfagnana dove trascorse gli ultimi anni di vita. Ma suo figlio, il duca Francesco I, amico ed estimatore del Guercino nonché scaltro collezionista, trattenne l’opera a Modena.

 

3rd left -

The Martyrdom of St. Peter.

Guercino.

www.flickr.com/photos/bramhall/28672138255/in/album-72157...

Orazio Cabassi commissioned this painting around 1618-19 for the Chiesa di S. Bernardino in Carpi. It entered the ducal collections in 1751. It was looted by the Napoleonic army and displayed at the Louvre. In 1815 it was returned to the Galleria Estense.

This is a masterpiece from Guercino’s early work, just a few years before his stay in Rome. Saint Peter is not pictured in the traditional upside-down crucifixion format, but at the start of his passion. In the handling of subject, diagonal composition and vivid use of colour, this painting serves as a testament to the incredibly original mode of expression attained by the young painter. The innate propensity towards naturalism (learnt from Venetian painting, and in particular from the Bassano family artists) is lit with a dramatic use of chiaroscuro which has often led to speculation that Guercino might have been already aware of Caravaggio’s painting.

 

4th left

Gesù crocifisso

Reni Guido (Bologna, 1575 - 1642)

www.flickr.com/photos/bramhall/50828688397/in/dateposted/

Chronology: sec. sec. XVII (1639 - 1639)

Olio su tela, 261 x 174 cm

 

Subscriptions: Iscrizione nella cimasa dell'ancona già nell'oratorio del Santissimo Sacramento e delle Cinque Piaghe, Reggio Emilia Cattedrale, Cappella Estense. " REDEMPTUS REDEMPTOREM ADORA HIERONYMUS RESTA EREXIT ANNO MDCXXXIX ".

 

Provenance: Reggio Emilia, chiesa di Santo Stefano, Oratorio delle cinque Piaghe, 1639; Modena, Palazzo Ducale, appartamenti di Ercole III, 15 maggio 1783; Modena, Palazzo Ducale, Galleria Estense, 1884 (Registro Cronologico Generale di Entrata); Modena, Palazzo dei Musei, Galleria Estense, 1894; Modena, Istituto di Belle Arti, Piano Superiore, Sala delle Statue (inventariato in R.C.G.E. nel 1924).

Guido Reni lavorò a lungo sulla figura del Cristo crocifisso con lo sguardo rivolto al cielo, stabilendo un’iconografia – spesso adottata nel solo dettaglio della testa – che ebbe enorme fortuna. In questa versione l’artista giunse a un esito eccezionale: la figura dolente e idealizzata si staglia nella luce argentea offrendo una visione in cui “par bella la morte istessa”, come scrisse Luigi Lanzi nella fondamentale "Storia pittorica della Italia". L’opera fu tra le preferite dal duca Ercole III, che la requisì per il proprio appartamento privato.

 

5th left -

St. Roch in Prison.

Guido Reni.

www.flickr.com/photos/bramhall/28672137775/in/album-72157...

 

This work was completed between 1617 and 1618 for the Chiesa di San Rocco in Carpi, province of Modena. It was added to the ducal collection in 1751, appropriated by the French at the turn of the century and returned in 1815.

It was produced during the most prolific period of the artist’s career in which he also painted the so-called Labours of Hercules (now in the Louvre Museum, Paris) for the Duke of Mantua. Earning well-deserved fame following his Roman ventures, Reni returned to Bologna to a leading role in the Bolognese art of his time and, incidentally, in the Classicist tradition of times to come. The Saint’s figure embodies the artist’s Christian-inspired vein of naturalism: solemn and majestic he stands out in the perfectly balanced space. Yet each element of colour and composition, calculated confidently and with great care, is ultimately elevated by the cold light to an abstract world of musical grace.

 

6th left -

Assunzione della Vergine

Carracci Ludovico (Bologna, 1555 - 1619)

www.flickr.com/photos/bramhall/50827850273/in/dateposted/

Chronology: sec. sec. XVII (ca. 1607 - 1607)

Olio su tela, 260 x 162 cm

 

Subscriptions: [nel basamento del sarcofago] TANTAM INTEGRITATEM MERITO INCORRUPTIBILITAS SEQUITUR [in basso a destra] LUDO(VICUS) CARACIUS BONO(NIENSIS) F(ECIT).

 

Provenance: Modena, chiesa dell’Assunta, 1607; Modena, Palazzo Ducale, 1783; Modena, Palazzo dei Musei, 1894 (inventariato in R.C.G.E. nel 1924)

 

Alla fine della sua vita Maria fu assunta in cielo, stando a una lunghissima tradizione poi divenuta dogma della Chiesa cattolica. La luminosa armonia di questa pala, dietro ai festosi angeli musicanti e al paesaggio marino con arcobaleno, racchiude riferimenti dottrinali al mistero dell’Immacolata Concezione. Vi allude l’iscrizione che si legge sul sarcofago, tratta da un testo medievale del cosiddetto Pseudo-Agostino, per cui l’incorruttibilità del corpo di Maria è una necessaria conseguenza della sua verginità.

 

7th left -

San Francesco d'Assisi in preghiera con due angeli

Gessi Giovan Francesco (Bologna, 1588 – 1649)

www.flickr.com/photos/bramhall/50828688692/in/dateposted/

Chronology: sec. sec. XVII (1631 - ca. 1635)

Olio su tela, 187 x 124 cm

 

Provenance: Dalle collezioni estensi a Modena.

 

Dopo la terribile epidemia di peste del 1630, Guido Reni dipinse uno dei suoi capolavori più noti, ovvero lo stendardo per la chiesa bolognese di San Domenico con la Madonna, il Bambino e diverse figure di santi (Bologna, Pinacoteca Nazionale). Una di queste, il san Francesco orante, fu replicata dallo stesso Reni come dipinto isolato e poi anche da suoi seguaci in diverse altre versioni autonome. Questa, di particolare pregio, nel Settecento era considerata autografa ma si deve probabilmente a Giovan Francesco Gessi.

després 1595. Oli sobre tela. 117,8 x 141,3 cm. The Metropolitan Museum of Art, Nova York. 1971.155. Obra exposada: Galeria 601.

La Iglesia, cuyos orígenes se remontan a muchos siglos atrás, inicialmente pertenecía a la Orden de San Benito. Después de albergar a un grupo de monjas en el siglo XIII, en 1516 la iglesia fue demolida para ser reemplazada por un edificio más grande diseñado por Andrea da Formigine, quien construyó el pórtico y lo enriqueció con finas decoraciones (ahora dañadas).

A finales del siglo XVI, se entregó a los teatinos, cuya iglesia fue reconstruida por G. Battista Natali y Agostino Barelli: se agregó al edificio original un nuevo campanario y una nueva cúpula. Después de eso, los monjes decidieron renombrarlo después del fundador de su orden, dando así a la iglesia un nuevo título: San Bartolomeo (el nombre original) y San Gaetano Thiene (su fundador). Dentro de la iglesia, se pueden encontrar muchas pinturas de Lodovico Carracci, Guido Reni y otros. Además, junto al altar mayor hay una pequeña capilla donde fue enterrada la mística boloñesa Prudenziana Zagnoni.

[www.zonzofox.com]

The inscription on the stone slab refers to a passage in the the Old Testament which describes how after prophesying a drought Elijah was instructed to hide himself by the brook of Cherith, from which he could drink and where ravens would bring him bread and meat. Guercino painted the picture in Ferrara for his patron, Cardinal Jacopo Serra, Papal Legate of Ferrara.

  

During this period Guercino typically gave massiveness to his subjects by making them occupy a high proportion of the picture space. Elijah is over life-size and dominates the picture. The light cuts across the massive forms, breaking them up into patches of light and dark.

 

Giovanni Francesco Barbieri was called Guercino in reference to his pronounced squint. He was born at Cento, near Bologna. He was largely self-taught but influenced by the Carracci and particularly by Ludovico Carracci. An early commission in Bologna was the altarpiece of the 'Investiture of Saint William' (1620, Bologna, Pinacoteca). In 1621 Guercino was invited to Rome to work for Pope Gregory XV. His ceiling fresco, Aurora, was painted for the Pope's nephew (Rome, Villa Ludovisi).

 

[Oil on canvas, 195 x 156.5 cm]

 

gandalfsgallery.blogspot.com/2011/08/guercino-elijah-fed-...

 

Roma Palazzo Farnese Rione Regola

El título de esta obra es La apertura de la tumba de Rafael en el Panteón en 1833. Su autor es el italiano Francesco Diofebi quien lo concluye en 1836. Se trata de un óleo pintado sobre lienzo que mide 54,9 x 70,0 centímetros. Se conserva en el Museo Thorvaldsen de Copenhague.

 

La tela es una actualidad reconstruida, pues se pintó tres años después de la exhumación, aun cuando la impresión de reportaje de actualidad está muy bien lograda. Estas dilaciones eran habituales en las obras de contenido histórico o historicista y no incomodaban a nadie. Tampoco se veía mal que el artista se concediera algunas licencias.

 

En el caso que abordamos, la principal libertad que Diofebi se tomó fue el representar la exhumación de Rafael como un proceso sencillísimo, cuando, por razones obvias, no lo fue. De hecho este cuadro abona la tesis, hoy predominante, de que esta búsqueda de los restos del artista de Urbino se debió a que se dudaba si Rafael estaba enterrado en el Panteón o, bien, se sabía que allí estaba su tumba, pero se ignoraba realmente si sus huesos seguían allí.

 

Lo cierto es que nadie en 1833 ponía en cuestión que el pintor estaba enterrado a los pies de la Madonna del Sasso. Las evidencias históricas y epigráficas resultaban incontestables. La tradición popular lo confirmaba sin fisuras. El problema era muy otro: cuál de los cadáveres que aparecieron en ese rincón de la Rotonda era de Rafael.

 

Empecemos por señalar que el pintor de Urbino fue de los pocos artistas renacentistas que pudo escoger el lugar de su tumba y que además fue enterrado con honores. Forzoso es resaltar que dejó la suma de mil quinientos escudos para restaurar y obrar el edículo del Panteón. También dispuso en su testamento que se colocara allí la imagen de la Madonna del Saso que había encargado previamente a su discípulo Lorenzetto.

 

Todo esto se ejecutó como había planeado Rafael. Lo que él no pudo calcular es que su propia celebridad iba a pasarle factura, de tal forma que no pudo descansar en paz.

Sus discípulos se empeñaron en yacer para la eternidad junto a su maestro, como hicieron e de Baldasare Peruzzi, Perino del Vaga, Giovanni da Udine, Tadeo Zuccaro y otros que Vasari no se tomó la molestia de recopilar. Debemos añadir a este fúnebre listado, los restos de la prometida de Rafael, Maria Bibbiena.

 

En el Antiguo Régimen era práctica habitual el que una cofradía u otro tipo de asociación piadosa se encargara de organizar los entierros en una capilla, cripta o cualquier otro lugar dentro de una iglesia o recinto sacro. Por ello, en 1543 el pontífice Paulo III aprobó los estatutos de la Insigne Academia Pontifica de Bellas y Literatura de los Virtuosos del Panteón, una asociación de artistas que, entre otras funciones, controló los enterramientos en la llamada capilla de San José de Tierrasanta en Santa María de los Mártires (el Panteón).

 

A finales de siglo XVI el trasiego de enterramientos cesó. Además en 1593 se creó otra organización rival a los Virtuosos, la Academia de San Lucas. Esta asociación tomó tan notable incremento que acabó monopolizando la vida artística romana. Demolida la iglesia de San Lucas, buscaron acomodo en el templo de Santa Martina, Con el beneplácito papal, la iglesia de la mártir pasó a ser de San Lucas y Santa Martina y, obviamente, acabo poseyendo su pléyade de sepultados ilustres.

 

No obstante, el prestigio de la tumba de Rafael prosiguió. Como la Academia no pudo trasladar los restos, hizo correr el rumor de que, al menos, poseía el cráneo del artista, historia falsa a todas luces. La supuesta exhumación de los restos del pintor en 1673 es otra invención que se cita como prueba de esta fantasmal posesion. En cualquier caso, estos rumores revelan el valor como taumatúrgico, como de reliquia, que habían acabado adquiriendo el cadáver del Rafael.

 

Esta especie de veneración explica que en 1609 fuese enterrado junto a la tumba rafaelesca Annibale Carracci. El artista boloñés no lo había dispuesto en su testamento y no pertenecía a los virtuosos, pero estas objeciones se superaron sin mucho problema.

 

A partir de entonces se suceden los proyectos de erigir un monumento a Carracci, sin que ninguno llegue a pasar del papel. Finalmente en 1674, el biógrafo de artistas Giovanni Pietro Bellori y el pintor Carlo Maratta transformaron la tumba rafaelesca en una memoria fúnebre dúplice a la gloria de los dos pintores, que así quedaban equiparados. Se añadieron inscripciones y dos hornacinas en la que se colocaron los bustos de ambos artistas. El escultor de las efigies fue Paolo Naldini.

 

Estos retratos se encuentran hoy en la Promoteca del Capitolio. Allí se exhiben desde 1820, año en el que el cardenal Ercole Consalvi intentó recristianizar la Rotonda, que había sido convertido en una suerte de Panteón de Hombres Ilustres durante la ocupación francesa. De su labor de expurgo no se libraron ni las inscripciones del monumento.

 

Esta reacción llegó tarde, pues si bien la fama de Carracci había quedado oscurecida, el prestigio de Rafael no había hecho sino aumentar. De ser colocado entre los grandes había pasado a ser el grande, el divino por antonomasia. Hallar el lugar exacto de su tumba e identificar sus restos se consideraron entonces empresas necesarias y urgentes.

 

Y llegamos a ese septiembre de 1833 en el que el pontífice Gregorio XVI autoriza la apertura de la tumba, decisión secundada por los virtuosos. El 9 de septiembre (o el 14 según otras fuentes) se realizó la exhumación, con la asistencia de nada menos setenta y cinco personalidades ilustres que incluían a artistas, eclesiásticos, funcionarios… Consta la presencia del cardenal Placido Zurla, el escultor Berthel Thorvaldsen y, por lo que parece, los pintores Francesco Diofebi y Vincenzo Camuccini que conmemoraron el hallazgo con sendos lienzos.

 

El verdadero protagonista del acto fue el anatomista Antonio Trasmondo. Durante la excavación encontró numerosas sepulturas, encontrándose muchos de los esqueletos incompletos. Tras varias de semanas de análisis, con las técnicas rudimentarias de la época, Trasmondo concluyó que un cráneo encontrado guardaba similitudes con el que, según su criterio, debía pertenecer a Rafael, aunque con los años sus técnicas de análisis fueron puestas en tela de juicio.

 

No obstante, en aquel entonces, el escultor Camillo Torrenti realizó una copia en yeso del cráneo que actualmente se exhibe en el Museo Casa Natal de Rafael en Urbino. A esa réplica se le han aplicado las modernas técnicas de reconstrucción facial y por comparación con los autorretratos que se conservan del artista y otros retratos que sus discípulos hicieron de él, revelan que la identificación de Trasmondo era acertada.

 

Volviendo a 1833, la tesis de Trasmondo fue aceptada entonces sin discusión. El esqueleto de Rafael fue colocado en un féretro de madera encerrado en un ataúd de plomo y colocado, a su vez, en el interior de un hermoso sarcófago antiguo donado por Gregorio XVI. Esta pieza quedo expuesta al público tras la salvaguarda de un grueso cristal. Finalmente el busto de Rafael se repuso (no así el de Carracci). Se empleó una copia en bronce ejecutada por Giuseppe de Fabris,

 

Señalar que en el cuadro de Diofebi figuran los dos bustos en su lugar originario y que además el de Carracci no se parece en nada a la obra original. Si la escena plasmada por el pintor parece verosímil, habrá que convenir en que cuando se examina de cerca el artificio y la invención ganan la partida.

 

La imagen procede de la siguiente página:

 

www.thorvaldsensmuseum.dk/en/collections/work/B73

 

Es la catedral de la ciudad, elevada al título de "Metropolitana" en 1582 por el Papa Gregorio XIII, que confirió la dignidad arzobispal a la diócesis de Bolonia.

Los primeros indicios del edificio se remontan al siglo X. La catedral ha sufrido varios cambios a lo largo de los siglos hasta alcanzar su aspecto actual, que se remonta a la renovación de 1605 que, sin embargo, hizo perder todo rastro de la primitiva estructura románico-gótica. El interior alberga pinturas de artistas como Prospero Fontana, Ludovico Carracci y Donato Creti.

El tesoro de la catedral alberga objetos y ornamentos litúrgicos del siglo XIV de gran valor artístico y espiritual.

[www.bolognawelcome.com]

Broadcast

 

...

 

Postcard :

 

Annnibale Carracci

Domine Quo Vadis ? / Where Are You Going ?

1602

 

Oil On Panel

National Gallery

London

 

CD :

 

Kraftwerk

Autobahn

Kling Klang

KLANGBOX2

 

Design by Emil Schult

 

iTunes :

 

The Fall

I'm Going To Spain

Artful Records

ART30

 

Apocryphal Acts Of GMA ...

Oil on canvas; 117.8 x 141.3 cm.

 

Annibale Carracci was an Italian painter who was influential in recovering the classicizing tradition of the High Renaissance from the affectations of Mannerism. He was the most talented of the three painters of the Carracci family. Annibale and his older brother Agostino were at first guided by their older cousin Lodovico, a painter who persuaded them to follow him in his profession. Annibale’s precocious talents developed in a tour of northern Italy in the 1580s, his visit to Venice being of special significance. He is said to have lodged in that city with the painter Jacopo Bassano, whose style of painting influenced him for a time. Annibale may be credited with the rediscovery of the early 16th-century painter Correggio, who had been effectively forgotten outside Parma for a generation; Annibale’s Baptism of Christ (1585) for the Church of San Gregorio in Bologna is a brilliant tribute to this Parmese master.

 

Back in Bologna, Annibale joined Agostino and Lodovico in founding a school for artists called the Accademia degli Incamminati. The Enthroned Madonna with St. Matthew (1588) Annibale painted for the Church of San Prospero, Reggio, displays two of the most persistent characteristics of his art: a noble classicizing strain combined with a genial and bucolic tone. By the time Annibale collaborated with the other two Carracci on frescoes in the Palazzo Magnani (now the Palazzo Salem; 1588–90) and two other noble houses in Bologna, he had become the leading master among them. His orderly and airy landscapes in these palaces helped initiate that genre as a principal subject in Italian fresco painting.

 

In 1595 Annibale went to Rome to work for the rich young cardinal Odoardo Farnese, who wanted to decorate with frescoes the principal floor of his palace, which was one of the most splendid in Rome. In that city Annibale turned eagerly to the study of Michelangelo, Raphael, and ancient Greek and Roman art in order to adapt the style he had formed in the artistic centres of northern Italy to his new surroundings. Having decorated the Camerino (study) in the Palazzo Farnese, he was joined (1597) by Agostino in the chief enterprise of his career—painting the frescoes of the coved ceiling of the Galleria (1597–1603/04) with love fables from Ovid. These decorations, which interweave various illusions of reality in a way that was more complex even than Raphael’s famous paintings in the Vatican loggia, were a triumph of classicism tempered with humanity. The powerfully modeled figures in these frescoes are set in a highly complex composition whose illusionistic devices represent an imaginative response to Michelangelo’s frescoes on the Sistine ceiling. Despite their elaborate organization, the frescoes are capable of direct appeal owing to their rich colors and the vigor and dynamism of their entire approach. The Galleria Farnese soon became and remained a virtually indispensable study for young painters until well into the 18th century and was an especially rich feeding ground for the Baroque imaginations of Peter Paul Rubens and Gian Lorenzo Bernini, among others.

 

Annibale’s long and intense labours in the Palazzo Farnese had been dismally underpaid by Cardinal Farnese, and the painter never fully recovered from the ingratitude of his patron. He quit work altogether on the Palazzo Farnese in 1605 but subsequently produced some of his finest religious paintings, notably Domine, Quo Vadis? (1601–02) and the Pietà (c. 1607). These works feature weighty, powerful figures in dramatically simple compositions. The lunette-shaped landscapes that Annibale painted for the Palazzo Aldobrandini, especially the Flight into Egypt and the Entombment (both c. 1604), proved important in the subsequent evolution of the heroic landscape as painted in Rome by Domenichino and Nicolas Poussin. Annibale died in Rome after several years of melancholic sickness and intermittent production.

 

Sa partie centrale a été construite de 1699 à 1701 par Sir William Bruce pour Charles Hope, premier comte de Hopetoun, puis considérablement agrandie entre 1721 et 1748 par William Adam. Ses fils, John et Robert Adam firent ensuite les décorations intérieures.

Les boiseries sont l’œuvre de James Cullen, un rival de Chippendale.

Le château possède une collection de peinture de première grandeur constituée par les achats de Lord Hope lors de son voyage en Italie.

The Pantheon is a former Roman temple and, since AD 609, a Catholic church (Basilica Santa Maria ad Martyres or Basilica of St. Mary and the Martyrs) in Rome, Italy. It was built on the site of an earlier temple commissioned by Marcus Vipsanius Agrippa during the reign of Augustus (27 BC – AD 14); then, after the original burnt down, the present building was ordered by the emperor Hadrian and probably dedicated c. AD 126. Its date of construction is uncertain, because Hadrian chose not to inscribe the new temple but rather to retain the inscription of Agrippa's older temple.

 

The building is round in plan, except for the portico with large granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment. A rectangular vestibule links the porch to the rotunda, which is under a coffered concrete dome, with a central opening (oculus) to the sky. Almost two thousand years after it was built, the Pantheon's dome is still the world's largest unreinforced concrete dome. The height to the oculus and the diameter of the interior circle are the same, 43 metres (142 ft).

 

It is one of the best-preserved of all Ancient Roman buildings, in large part because it has been in continuous use throughout its history. Since the 7th century, it has been a church dedicated to St. Mary and the Martyrs (Latin: Sancta Maria ad Martyres), known as "Santa Maria Rotonda". The square in front of the Pantheon is called Piazza della Rotonda. The Pantheon is a state property, managed by Italy's Ministry of Cultural Heritage and Activities and Tourism through the Polo Museale del Lazio. In 2013, it was visited by over six million people.

 

The Pantheon's large circular domed cella, with a conventional temple portico front, was unique in Roman architecture. Nevertheless, it became a standard exemplar when classical styles were revived, and has been copied many times by later architects.

 

In the aftermath of the Battle of Actium (31 BC), Marcus Vipsanius Agrippa started an impressive building program. The Pantheon was a part of the complex created by him on his own property in the Campus Martius in 29–19 BC, which included three buildings aligned from south to north: the Baths of Agrippa, the Basilica of Neptune, and the Pantheon. It seems likely that the Pantheon and the Basilica of Neptune were Agrippa's sacra privata, not aedes publicae (public temples). The former would help explain how the building could have so easily lost its original name and purpose (Ziolkowski contends that it was originally the Temple of Mars in Campo) in such a relatively short period of time.

 

It had long been thought that the current building was built by Agrippa, with later alterations undertaken, and this was in part because of the Latin inscription on the front of the temple which reads:

 

The Pantheon dome. The coffered dome has a central oculus as the main source of natural light.

M·AGRIPPA·L·F·COS·TERTIVM·FECIT

or in full, "M[arcus] Agrippa L[ucii] f[ilius] co[n]s[ul] tertium fecit," meaning "Marcus Agrippa, son of Lucius, made [this building] when consul for the third time." However, archaeological excavations have shown that the Pantheon of Agrippa had been completely destroyed except for the façade. Lise Hetland argues that the present construction began in 114, under Trajan, four years after it was destroyed by fire for the second time (Oros. 7.12). She reexamined Herbert Bloch's 1959 paper, which is responsible for the commonly maintained Hadrianic date, and maintains that he should not have excluded all of the Trajanic-era bricks from his brick-stamp study. Her argument is particularly interesting in light of Heilmeyer's argument that, based on stylistic evidence, Apollodorus of Damascus, Trajan's architect, was the obvious architect.

 

The form of Agrippa's Pantheon is debated. As a result of excavations in the late 19th century, archaeologist Rodolfo Lanciani concluded that Agrippa's Pantheon was oriented so that it faced south, in contrast with the current layout that faces north, and that it had a shortened T-shaped plan with the entrance at the base of the "T". This description was widely accepted until the late 20th century. While more recent archaeological diggings have suggested that Agrippa's building might have had a circular form with a triangular porch, and it might have also faced north, much like the later rebuildings, Ziolkowski complains that their conclusions were based entirely on surmise; according to him, they did not find any new datable material, yet they attributed everything they found to the Agrippan phase, failing to account for the fact that Domitian, known for his enthusiasm for building and known to have restored the Pantheon after 80 AD, might well have been responsible for everything they found. Ziolkowski argues that Lanciani's initial assessment is still supported by all of the finds to date, including theirs; he expresses scepticism because the building they describe, "a single building composed of a huge pronaos and a circular cella of the same diameter, linked by a relatively narrow and very short passage (much thinner than the current intermediate block), has no known parallels in classical architecture and would go against everything we know of Roman design principles in general and of Augustan architecture in particular."

 

The only passages referring to the decoration of the Agrippan Pantheon written by an eyewitness are in Pliny the Elder's Natural History. From him we know that "the capitals, too, of the pillars, which were placed by M. Agrippa in the Pantheon, are made of Syracusan bronze", that "the Pantheon of Agrippa has been decorated by Diogenes of Athens, and the Caryatides, by him, which form the columns of that temple, are looked upon as masterpieces of excellence: the same, too, with the statues that are placed upon the roof," and that one of Cleopatra's pearls was cut in half so that each half "might serve as pendants for the ears of Venus, in the Pantheon at Rome".

 

The Augustan Pantheon was destroyed along with other buildings in a fire in 80 AD. Domitian rebuilt the Pantheon, which was burnt again in 110 AD.

 

The degree to which the decorative scheme should be credited to Hadrian's architects is uncertain. Finished by Hadrian but not claimed as one of his works, it used the text of the original inscription on the new façade (a common practice in Hadrian's rebuilding projects all over Rome; the only building on which Hadrian put his own name was the Temple to the Deified Trajan). How the building was actually used is not known. The Historia Augusta says that Hadrian dedicated the Pantheon (among other buildings) in the name of the original builder (Hadr. 19.10), but the current inscription could not be a copy of the original; it does not tell us to whom Agrippa's foundation was dedicated, and, in Ziolkowski's opinion, it was highly unlikely that in 25 BC Agrippa would have presented himself as "consul tertium." On coins, the same words, "M. Agrippa L.f cos. tertium", were the ones used to refer to him after his death; consul tertium serving as "a sort of posthumous cognomen ex virtute, a remembrance of the fact that, of all the men of his generation apart from Augustus himself, he was the only one to hold the consulship thrice." Whatever the cause of the alteration of the inscription might have been, the new inscription reflects the fact that there was a change in the building's purpose.

 

Cassius Dio, a Graeco-Roman senator, consul and author of a comprehensive History of Rome, writing approximately 75 years after the Pantheon's reconstruction, mistakenly attributed the domed building to Agrippa rather than Hadrian. Dio appears to be the only near-contemporaneous writer to mention the Pantheon. Even by 200, there was uncertainty about the origin of the building and its purpose:

 

Agrippa finished the construction of the building called the Pantheon. It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens.

 

— Cassius Dio History of Rome 53.27.2

In 202, the building was repaired by the joint emperors Septimius Severus and his son Caracalla (fully Marcus Aurelius Antoninus), for which there is another, smaller inscription on the architrave of the façade, under the aforementioned larger text. This now-barely legible inscription reads:

 

IMP · CAES · L · SEPTIMIVS · SEVERVS · PIVS · PERTINAX · ARABICVS · ADIABENICVS · PARTHICVS · MAXIMVS · PONTIF · MAX · TRIB · POTEST · X · IMP · XI · COS · III · P · P · PROCOS  ET

IMP · CAES · M · AVRELIVS · ANTONINVS · PIVS · FELIX · AVG · TRIB · POTEST · V · COS · PROCOS · PANTHEVM · VETVSTATE · CORRVPTVM · CVM · OMNI · CVLTV · RESTITVERVNT

In English, this means:

 

Emp[eror] Caes[ar] L[ucius] Septimius Severus Pius Pertinax, victorious in Arabia, victor of Adiabene, the greatest victor in Parthia, Pontif[ex] Max[imus], 10 times tribune, 11 times proclaimed emperor, three times consul, P[ater] P[atriae], proconsul, and

Emp[eror] Caes[ar] M[arcus] Aurelius Antoninus Pius Felix Aug[ustus], five times tribune, consul, proconsul, have carefully restored the Pantheon ruined by age.

 

In 609, the Byzantine emperor Phocas gave the building to Pope Boniface IV, who converted it into a Christian church and consecrated it to St. Mary and the Martyrs on 13 May 609: "Another Pope, Boniface, asked the same [Emperor Phocas, in Constantinople] to order that in the old temple called the Pantheon, after the pagan filth was removed, a church should be made, to the holy virgin Mary and all the martyrs, so that the commemoration of the saints would take place henceforth where not gods but demons were formerly worshipped." Twenty-eight cartloads of holy relics of martyrs were said to have been removed from the catacombs and placed in a porphyry basin beneath the high altar. On its consecration, Boniface placed an icon of the Mother of God as 'Panagia Hodegetria' (All Holy Directress) within the new sanctuary.

 

The building's consecration as a church saved it from the abandonment, destruction, and the worst of the spoliation that befell the majority of ancient Rome's buildings during the Early Middle Ages. However, Paul the Deacon records the spoliation of the building by the Emperor Constans II, who visited Rome in July 663:

 

Remaining at Rome twelve days he pulled down everything that in ancient times had been made of metal for the ornament of the city, to such an extent that he even stripped off the roof of the church [of the blessed Mary], which at one time was called the Pantheon, and had been founded in honour of all the gods and was now by the consent of the former rulers the place of all the martyrs; and he took away from there the bronze tiles and sent them with all the other ornaments to Constantinople.

 

Much fine external marble has been removed over the centuries – for example, capitals from some of the pilasters are in the British Museum. Two columns were swallowed up in the medieval buildings that abutted the Pantheon on the east and were lost. In the early 17th century, Urban VIII Barberini tore away the bronze ceiling of the portico, and replaced the medieval campanile with the famous twin towers (often wrongly attributed to Bernini) called "the ass's ears", which were not removed until the late 19th century. The only other loss has been the external sculptures, which adorned the pediment above Agrippa's inscription. The marble interior has largely survived, although with extensive restoration.

 

Since the Renaissance the Pantheon has been the site of several important burials. Among those buried there are the painters Raphael and Annibale Carracci, the composer Arcangelo Corelli, and the architect Baldassare Peruzzi. In the 15th century, the Pantheon was adorned with paintings: the best-known is the Annunciation by Melozzo da Forlì. Filippo Brunelleschi, among other architects, looked to the Pantheon as inspiration for their works.

 

Pope Urban VIII (1623 to 1644) ordered the bronze ceiling of the Pantheon's portico melted down. Most of the bronze was used to make bombards for the fortification of Castel Sant'Angelo, with the rest used by the Apostolic Camera for other works. It is also said that the bronze was used by Bernini in creating his famous baldachin above the high altar of St. Peter's Basilica, but, according to at least one expert, the Pope's accounts state that about 90% of the bronze was used for the cannon, and that the bronze for the baldachin came from Venice. Concerning this, an anonymous contemporary Roman satirist quipped in a pasquinade (a publicly posted poem) that quod non fecerunt barbari fecerunt Barberini ("What the barbarians did not do the Barberinis [Urban VIII's family name] did").

 

In 1747, the broad frieze below the dome with its false windows was "restored," but bore little resemblance to the original. In the early decades of the 20th century, a piece of the original, as far as could be reconstructed from Renaissance drawings and paintings, was recreated in one of the panels.

 

Two kings of Italy are buried in the Pantheon: Vittorio Emanuele II and Umberto I, as well as Umberto's Queen, Margherita. It was supposed to be the final resting place for the Monarchs of Italy of the House of Savoy, but the Monarchy was abolished in 1946 and the authorities have refused to grant burial to the former kings who died in exile (Victor Emmanuel III and Umberto II). The National Institute for the Honour Guard of the Royal Tombs of the Pantheon was originally chartered by the House of Savoy and subsequently operating with authorization of the Italian Republic, mounts as guards of honour in front of the royal tombs.

 

The Pantheon is in use as a Catholic church, and as such, visitors are asked to keep an appropriate level of deference. Masses are celebrated there on Sundays and holy days of obligation. Weddings are also held there from time to time.

Roma Palazzo Farnese Rione Regola

The Small Italian Skylight Room.

 

The Small Italian Skylight Room in the New Hermitage is one of three enormous interiors lit from above.

 

The vaults of the room are richly decorated with gilded mouldings. The 16th- and 17th-century paintings to be seen here are part of the display of Italian art, one of the largest in the Hermitage. This display occupies 29 rooms and spans a period from the 13th to the 18th century.

 

Particularly noteworthy in this room are works by Veronese and Tintoretto, and also those of artists of the Bolognese and Roman schools, including Annibale Carracci, Guercino, Guido Reni and Carlo Maratti.

 

The room is adorned by the works of 19th-century Russian stonecutters.

  

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."

Oil on canvas; 114.3 x 151.8 cm.

 

Lodovico Carracci was an Italian painter and printmaker noted for his religious compositions and for the art academy he helped found in Bologna about 1585, which helped renew Italian art in the wake of Mannerism. The son of a butcher, Lodovico was the older cousin of the painters Annibale and Agostino Carracci. After working under the painter Prospero Fontana in Bologna, Lodovico visited Florence, Parma, and Venice before returning to his native Bologna. There, about 1585, he and his cousins founded the Accademia degli Incamminati, an art school that became the most progressive and influential institution of its kind in Italy. Lodovico led this school for the next 20 years, during which time he and his cousins trained some of the leading Italian artists of the younger generation, notably Guido Reni and Domenichino. The teaching techniques of the Carraccis’ academy were based on frequent observation of nature, the study and revision of poses from life, and boldness of scale in drawing figures with chalk.

 

In his own paintings of religious subjects, Lodovico gave his figures strong gestures amid flickering plays of light in order to communicate a sense of mystery and passionate spiritual emotion. The Madonna and Child with St. Francis, St. Joseph, and Donors (1591) is typical of his early work. Lodovico’s imaginative approach to religious sentiment and his emphasis on mood would influence various Italian Baroque painters. Lodovico collaborated with his cousins on various fresco commissions, and, after the death of Annibale in 1609, he remained active in Bologna, where he painted a succession of altarpieces in an increasingly grandiose and heavily mannered style until his own death in 1619.

 

Oil on canvas; 89 x 148 cm.

 

"Neither clean nor well-dressed, with his collar askew, his hat jammed on any old way and his unkempt beard, Annibale Carracci seemed to be like an ancient philosopher, absent-minded and alone," wrote an early biographer. A tailor's son, Carracci considered himself a craftsman, not a courtier, but the Romans buried him in the Pantheon beside Raphael.

 

Along with his older brother Agostino and his cousin Lodovico, Annibale founded the Accademia degli Incamminati (Academy of the Progressives) in Bologna, which focused on naturalism and rejected Mannerism. There they revived the practice of working from life, focusing on the craft of art rather than the elegant life of court painters. The Carracci were tireless observers. Scholars credit Annibale with teaching caricature and helping to revive the process of creating extensive preparatory drawings for paintings.

 

Between 1597 and 1601, Carracci worked on the gallery ceiling of the Palazzo Farnese in Rome, his most important legacy. Conceiving the ceiling as open to the sky, he painted its mythological love scenes as framed easel pictures within an illusionistic framework. After receiving a paltry five hundred lire for this extensive decoration, he suffered a breakdown. A prolific draftsman, Carracci derived his heroic figure style from antique sculpture and Michelangelo and Raphael's art, but he added a richness and buoyancy from his copious studies from life. He originated the "ideal landscape," with figures, buildings, and nature in perfect balance, a nature tamed and ennobled by man's presence.

 

3664 ExLibris2 Agostino Carracci (Bologna, 16 agosto 1557 – Parma, 23 febbraio 1602)

 

« AUGUSTINUS CARACCIUS/ DUM EXTREMOS IMMORTALIS SUI PENICILLI TRACTUS/ IN HOC SEMIPICTO FORNICE MOLIRETUR/ AB OFFICIIS PINGENDI, ET VIVENDI/ SUB UMBRA LILIORUM, GLORIOSE VACAVIT/ TU SPECTATOR/ INTER HAS DULCES PICTURAE ACERBITATES/ PASCE OCULOS/ ET FATEBERE, DECUISSE POTIUS INTACTAS SPECTARI/ QUAM, ALIENA MANU, TRACTATAS MATURAT »

(Epitaffio di Agostino Carracci scritto da Claudio Achillini e collocato in un riquadro della volta del Palazzo del Giardino lasciato vuoto a causa della morte del pittore)

Fratello maggiore di Annibale Carracci e cugino di Ludovico Carracci fu anch'egli un artista di talento. Fu anche, a dispetto delle modeste origini familiari dei Carracci, un uomo di notevoli cultura ed ingegno.

 

Author;

Albertus Clouwet (name variations: Albertus Clouet, Albert Clowet, Aubert Clouwet, Haubertus Clouwet, Albertus Cluet, nickname Zandzak) (1636, Antwerp – 1679, Naples), was a Flemish engraver who had a successful career in Italy.

en.wikipedia.org/wiki/Albertus_Clouwet

  

it.wikipedia.org/wiki/Giovanni_Pietro_Bellori

Oil on canvas; 95.3 x 172.7 cm.

 

Lodovico Carracci was an Italian painter and printmaker noted for his religious compositions and for the art academy he helped found in Bologna about 1585, which helped renew Italian art in the wake of Mannerism. The son of a butcher, Lodovico was the older cousin of the painters Annibale and Agostino Carracci. After working under the painter Prospero Fontana in Bologna, Lodovico visited Florence, Parma, and Venice before returning to his native Bologna. There, about 1585, he and his cousins founded the Accademia degli Incamminati, an art school that became the most progressive and influential institution of its kind in Italy. Lodovico led this school for the next 20 years, during which time he and his cousins trained some of the leading Italian artists of the younger generation, notably Guido Reni and Domenichino. The teaching techniques of the Carraccis’ academy were based on frequent observation of nature, the study and revision of poses from life, and boldness of scale in drawing figures with chalk.

 

In his own paintings of religious subjects, Lodovico gave his figures strong gestures amid flickering plays of light in order to communicate a sense of mystery and passionate spiritual emotion. The Madonna and Child with St. Francis, St. Joseph, and Donors (1591) is typical of his early work. Lodovico’s imaginative approach to religious sentiment and his emphasis on mood would influence various Italian Baroque painters. Lodovico collaborated with his cousins on various fresco commissions, and, after the death of Annibale in 1609, he remained active in Bologna, where he painted a succession of altarpieces in an increasingly grandiose and heavily mannered style until his own death in 1619.

  

The fresco decoration of Sant'Andrea's dome was one of the largest commissions of its day. The work was disputed by two Carracci pupils, Giovanni Lanfranco and Domenichino. In 1608, Lanfranco had been chosen by Cardinal Alessandro, but the Ludovisi papacy of Pope Gregory XV favored the Bolognese Domenichino. In the end, both artists were employed, and Lanfranco's lavish dome decoration (completed 1627) set the model for such decorations for the following decades.[2] This dome was for a long time the third largest dome in Rome (only preceded by the Basilica of St. Peter and the Pantheon).

 

from Wikipedia

Domenichino (Domenico Zampieri)

Fechas 1581-1641

Artista de roles

Nacido Bolonia, Italia

Murió Nápoles, Italia

Domenichino pasó la mitad de su vida luchando contra el exuberante estilo barroco cada vez más de moda de Giovanni Lanfranco y Pietro da Cortona. Cuando un amigo lo animó a adaptarse al gusto de los demás, respondió: "Trabajo solo para mí y para la perfección del arte". La sensibilidad, la composición sutil y el color delicado de Domenichino influyeron fuertemente en Nicolas Poussin. El pintor boloñés más clásico de su época, Domenichino buscó la forma ideal y la grandeza conocida como disegno.

 

Después de estudiar con un artista flamenco, Domenichino cambió a la instrucción clásica de la academia Carracci, luego ayudó a Lodovico Carracci. En 1602 se unió a Annibale Carracci y sus compañeros de clase Guido Reni y Lanfranco, su detestable rival, trabajando en los murales del techo del Palacio Farnese. Domenichino pintó muchos de los paisajes, ordenando y mejorando la naturaleza. Para 1614 era el principal pintor de Roma. También hizo cuadros de caballete, a veces pintando sobre cobre para lograr un acabado pulido. En 1621 comenzó a trabajar como arquitecto para el Papa Gregorio XV, creando frescos con un estilo barroco más emotivo.

 

En 1631, con su popularidad en Roma disminuyendo, Domenichino viajó a Nápoles para hacerse cargo de la comisión de Guido Reni para decorar una capilla en la Catedral de Nápoles. Este era un proyecto potencialmente peligroso: otros artistas no napolitanos habían rechazado o abandonado esta comisión después de que artistas locales celosos amenazaron sus vidas y mataron a un sirviente de Reni. En 1641 Domenichino murió con el proyecto sin terminar, y Lanfranco lo sucedió.

Agostino Carracci, Bologna 1557 – Parma 1602

Bildnis Tizians - Portrait of Titian - Ritratto di Tiziano (1587) Kupferstichkabinett Dresden

 

Als Vorlage für diesen Stich diente ein Selbstbildnis Tizians.

 

The engraving was based on a selfportrait of Titian.

 

Caravaggio (Michelangelo Merisi da Caravaggio), Mailand 1571? - Porto Ercole 1610

Bekehrung des Paulus - Conversion on the Way to Damascus - Conversione di San Paolo (1600 - 01)

Santa Maria del Popolo, Cappella Cerasi, Roma

 

In 1600, soon after he had completed the first two canvases for the Contarelli Chapel, Caravaggio signed a contract to paint two pictures for the Cerasi Chapel in Santa Maria del Popolo. The church has a special interest because of the works it contains by four of the finest artists ever to work in Rome: Raphael, Carracci, Caravaggio and Bernini. It is probable that by the time Caravaggio began to paint for one of its chapels, The Assumption by Annibale Carracci was in place above the altar. Caravaggio's depictions of key events in the lives of the founders of the Roman See have little in common with the brilliant colours and stylized attitudes of Annibale, and Caravaggio seems by far the more modern artist.

 

Of the two pictures in the chapel the more remarkable is the representation of the moment of St Paul's conversion. According to the Acts of the Apostles, on the way to Damascus Saul the Pharisee (soon to be Paul the Apostle) fell to the ground when he heard the voice of Christ saying to him, 'Saul, Saul, why do you persecute me?' and temporarily lost his sight. It was reasonable to assume that Saul had fallen from a horse.

 

Caravaggio is close to the Bible. The horse is there and, to hold him, a groom, but the drama is internalized within the mind of Saul. He lies on the ground stunned, his eyes closed as if dazzled by the brightness of God's light that streams down the white part of the skewbald horse, but that the light is heavenly is clear only to the believer, for Saul has no halo. In the spirit of Luke, who was at the time considered the author of Acts, Caravaggio makes religious experience look natural.

 

Technically the picture has defects. The horse, based on Dürer, looks hemmed in, there is too much happening at the composition's base, too many feet cramped together, let alone Saul's splayed hands and discarded sword. Bellori's view that the scene is 'entirely without action' misses the point. Like a composer who values silence, Caravaggio respects stillness.

 

Both this and the following painting appear to be second versions, for Baglione states that Caravaggio first executed the two pictures 'in another manner, but as they did not please the patron, Cardinal Sannesio took them for himself'. Of these earlier versions, only The Conversion of St Paul survives.

 

Source: Web Gallery of Art

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."

"St Ann's Church in Manchester, England was consecrated in 1712. Although named after St Anne, it also pays tribute to the patron of the church, Ann, Lady Bland. St Ann's Church is a Grade I listed building.

 

At the beginning of the 18th century, Manchester was a small rural town little more than a village, with many fields and timber-framed houses. A large cornfield named Acres Field, which is now St Ann's Square, became the site for St Ann's Church.[3] Acresfield was the site of an annual fair from the 13th century until 1823 when it was moved to Knott Mill.[4]

 

The church was an impressive building and although it stood between the market and the collegiate church, both towers could be seen from all directions. It is a neo-classical building, originally constructed from locally quarried, red Collyhurst sandstone although, due to its soft nature, much of the original stone has since been replaced with sandstone of various colours from Parbold in Lancashire, Hollington in Staffordshire, Darley Dale in Derbyshire and Runcorn in Cheshire.[5] When the church was first constructed, the interior was extremely simple with plain glass windows. However, in the 19th century many changes were made, including the installation of stained glass windows. Some of these were bespoke and others were adapted from other churches. One such window, on the north side of the church, was designed and made by William Peckitt of York.[a] The furniture includes a Queen Anne altar table, thought to be the only existing one of its kind and a painting of "The Descent from the Cross" by Annibale Carracci of Bologna.[7]

 

The tower of the church marks the centre of the city; surveyors used it as a platform to measure distances to other locations. Their benchmark remains visible at the tower door.

 

Manchester (/ˈmæntʃɪstər, -tʃɛs-/) is a city and metropolitan borough in Greater Manchester, England, with a population of 547,627 as of 2018 (making it the fifth most populous English district). It lies within the United Kingdom's second-most populous urban area, with a population of 2.5 million and third most populous metropolitan area, with a population of 3.3 million. It is fringed by the Cheshire Plain to the south, the Pennines to the north and east, and an arc of towns with which it forms a continuous conurbation. The local authority for the city is Manchester City Council.

 

The recorded history of Manchester began with the civilian settlement associated with the Roman fort of Mamucium or Mancunium, which was established in about AD 79 on a sandstone bluff near the confluence of the rivers Medlock and Irwell. It is historically a part of Lancashire, although areas of Cheshire south of the River Mersey were incorporated in the 20th century. The first to be included, Wythenshawe, was added to the city in 1931. Throughout the Middle Ages Manchester remained a manorial township, but began to expand "at an astonishing rate" around the turn of the 19th century. Manchester's unplanned urbanisation was brought on by a boom in textile manufacture during the Industrial Revolution, and resulted in it becoming the world's first industrialised city. Manchester achieved city status in 1853. The Manchester Ship Canal opened in 1894, creating the Port of Manchester and directly linking the city to the Irish Sea, 36 miles (58 km) to the west. Its fortune declined after the Second World War, owing to deindustrialisation, but the IRA bombing in 1996 led to extensive investment and regeneration. Following successful redevelopment after the IRA bombing, Manchester was the host city for the 2002 Commonwealth Games.

 

Manchester is the third most visited city in the UK, after London and Edinburgh. It is notable for its architecture, culture, musical exports, media links, scientific and engineering output, social impact, sports clubs and transport connections.

 

Manchester is a city of notable firsts. Manchester Liverpool Road railway station was the world's first inter-city passenger railway station and the oldest remaining railway station. The city has also excelled in scientific advancement, as it was at The University of Manchester, in 1917, that scientist Ernest Rutherford first split the atom. The university's further achievements include Frederic C. Williams, Tom Kilburn and Geoff Tootill who developed and built the world's first stored-program computer in 1948; and, in 2004, Andre Geim and Konstantin Novoselov successfully isolated and characterised the first graphene." - info from Wikipedia.

 

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

 

Now on Instagram.

 

Become a patron to my photography on Patreon.

ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. "Send in the Bugs. The Michelangelos Need Cleaning" [= Laboratori Enea i batteri 'restauratori' per riparare dipinti, affreschi e statue], NYT (31 May, 2021): C1. S.v., "Roma, Casina Farnese sul Palatino," in: ADNKRONOS / ARTE (10/04/2015). wp.me/pbMWvy-1vZ

 

1). ITALIA - Send in the Bugs. The Michelangelos Need Cleaning. NYT (31 May 31, 2021): C1.

 

Last fall, with the Medici Chapel in Florence operating on reduced hours because of Covid-19, scientists and restorers completed a secret experiment: They unleashed grime-eating bacteria on the artist’s masterpiece marbles.

 

FLORENCE — As early as 1595, descriptions of stains and discoloration began to appear in accounts of a sarcophagus in the graceful chapel Michelangelo created as the final resting place of the Medicis. In the ensuing centuries, plasters used to incessantly copy the masterpieces he sculpted atop the tombs left discoloring residues. His ornate white walls dimmed.

 

Nearly a decade of restorations removed most of the blemishes, but the grime on the tomb and other stubborn stains required special, and clandestine, attention. In the months leading up to Italy’s Covid-19 epidemic and then in some of the darkest days of its second wave as the virus raged outside, restorers and scientists quietly unleashed microbes with good taste and an enormous appetite on the marbles, intentionally turning the chapel into a bacterial smorgasbord.

 

“It was top secret,” said Daniela Manna, one of the art restorers.

 

On a recent morning, she reclined — like Michelangelo’s allegorical sculptures of Dusk and Dawn above her — and reached into the shadowy nook between the chapel wall and the sarcophagus to point at a dirty black square, a remnant showing just how filthy the marble had become.

 

She attributed the mess to one Medici in particular, Alessandro Medici, a ruler of Florence, whose assassinated corpse had apparently been buried in the tomb without being properly eviscerated. Over the centuries, he seeped into Michelangelo’s marble, the chapel’s experts said, creating deep stains, button-shaped deformations, and, more recently, providing a feast for the chapel’s preferred cleaning product, a bacteria called Serratia ficaria SH7.

 

“SH7 ate Alessandro,” Monica Bietti, former director of the Medici Chapels Museum, said as she stood in front of the now gleaming tomb, surrounded by Michelangelos, dead Medicis, tourists and an all-woman team of scientists, restorers and historians. Her team used bacteria that fed on glue, oil and apparently Alessandro’s phosphates as a bioweapon against centuries of stains.

 

In November 2019, the museum brought in Italy’s National Research Council, which used infrared spectroscopy that revealed calcite, silicate and other, more organic, remnants on the sculptures and two tombs that face one another across the New Sacristy.

 

That provided a key blueprint for Anna Rosa Sprocati, a biologist at the Italian National Agency for New Technologies, to choose the most appropriate bacteria from a collection of nearly 1,000 strains, usually used to break down petroleum in oil spills or to reduce the toxicity of heavy metals. Some of the bugs in her lab ate phosphates and proteins, but also the Carrara marble preferred by Michelangelo.

 

“We didn’t pick those,” said Bietti.

 

Then the restoration team tested the most promising eight strains behind the altar, on a small rectangle palette spotted with rows of squares like a tiny marble bingo board. All of the ones selected, she said, were nonhazardous and without spores.

 

“It’s better for our health,” said Manna, after crawling out from under the sarcophagus. “For the environment, and the works of art.”

 

Sprocati said they first introduced the bacteria to Michelangelo’s tomb for Giuliano di Lorenzo, Duke of Nemours. That sarcophagus is graced with allegorical sculptures for Day, a hulking, twisted male figure, and Night, a female body Michelangelo made so smooth and polished as to seem as if she shone in moonlight. The team washed her hair with Pseudomonas stutzeri CONC11, a bacteria isolated from the waste of a tannery near Naples, and cleaned residue of casting molds, glue and oil off her ears with Rhodococcus sp. ZCONT, another strain which came from soil contaminated with diesel in Caserta.

 

It was a success. But Paola D’Agostino, who runs the Bargello Museums, which oversees the chapels and which will officially reveal the results of the project in June, preferred to play it safe on Night’s face. So did Bietti and Pietro Zander, a Vatican expert who joined them. They allowed the restorers to give her a facial of micro-gel packs of xanthan gum, a stabilizer often found in toothpaste and cosmetics that is derived from the Xanthomonas campestris bacteria. The head of the Duke Giuliano, hovering above his tomb, received similar treatment.

 

Sprocati took her bugs elsewhere. In August, her group of biologists used bacteria isolated from a Naples industrial site to clean the wax left by centuries of votive candles from Alessandro Algardi’s baroque masterpiece, a colossal marble relief in St. Peter’s Basilica in Rome of the Meeting of Attila and Pope Leo.

 

The bacteria strains got back to the Medici Chapel, which had reopened with reduced hours, in mid-October. Wearing white lab coats, blue gloves and anti-Covid surgical masks, Sprocati and the restorers spread gels with the SH7 bacteria — from soil contaminated by heavy metals at a mineral site in Sardinia — on the sullied sarcophagus of Lorenzo di Piero, Duke of Urbino, buried with his assassinated son Alessandro.

 

“It ate the whole night,” said Marina Vincenti, another of the restorers.

 

The Medicis were more accustomed to sitting atop Florence’s food chain.

 

In 1513, Giovanni di Lorenzo de Medici became Leo X — the first Medici pope. He had big plans for a new sacristy for the interment of his family, including his father, Lorenzo the Magnificent, the powerful ruler of Florence who largely bankrolled the Renaissance. Il Magnifico is now buried here too, under a modest altar adorned with Michelangelo’s Madonna and Child, flanked by saints that also had their toes nibbled by cleansing bacteria. But back then his coffin waited, probably on the Old Sacristy floor. He was soon joined by Leo X’s brother, Giuliano, and his nephew, Lorenzo, the Prince to whom Machiavelli dedicated his treatise on wielding power.

 

“You had coffins waiting to be buried,” said D’Agostino. “It’s kind of gloomy.”

Image

 

Pope Leo X hired Michelangelo to design and build the mausoleum. The pope then promptly died of pneumonia. In the ensuing years, Michelangelo carved the masterpieces and then ran afoul of his patrons.

 

In 1527, with the Sack of Rome, Florentines, including Michelangelo, supported a Republic and overthrew the Medicis. Among the ousted princes was Lorenzo di Piero’s sometimes volatile son, Alessandro, whom many historians consider a real piece of work. Michelangelo couldn’t stand him, and when the Medicis stormed back, it was Michelangelo’s turn to flee.

 

In 1531, the Medici Pope Clement VII pardoned Michelangelo, who went back to work on the family chapel. But by that time, Alessandro had become Duke of Florence. Michelangelo soon left town, and the unfinished chapel, for good.

 

“Alessandro was terrible,” said D’Agostino.

 

Alessandro’s relative, known as the “bad Lorenzo,” agreed and stabbed him to death in 1537. The duke’s body was rolled up in a carpet and plopped in the sarcophagus. It’s unclear if his father, Lorenzo, was already in there or moved in later.

 

“A roommate,” D’Agostino said.

 

In 2013, Bietti, then the museum’s director, realized how badly things had deteriorated since a 1988 restoration. The museum cleaned the walls, marred by centuries of humidity and handprints, revealed damages from the casts and iron brushes used to remove oil and wax, and reanimated the statues.

 

“Come and see,” Bietti said, pointing, Creation-of-Adam-style, at the toe of Night.

 

But the cleaner the chapel became, the more the stubbornly marred the sarcophagus of Lorenzo di Piero stood out as an eyesore.

 

In 2016, Vincenti, one of the restorers, attended a conference held by Sprocati and her biologists. (“An introduction to the world of microorganisms,” Sprocati called it.) They showed how bacteria had cleaned up some resin residues on Baroque masterpiece frescoes in the Carracci Gallery at Palazzo Farnese in Rome. Strains isolated from mine drainage waters in Sardinia eliminated corrosive iron stains in the gallery’s Carrara marble.

 

When it came time to clean the Michelangelos, Vincenti pushed for a bacterial assist.

 

“I said, ‘OK,” said D’Agostino. “‘But let’s do a test first.’”

 

The bacteria passed the exam and did the job. On Monday, tourists admired the downward pensive glance of Michelangelo’s bearded Dusk, the rising of his groggy Dawn and Lorenzo’s tomb, now rid of the remnants of Alessandro.

 

“It’s very strange, especially in this time of Covid,” Marika Tapuska, a Slovakian visiting Florence with her family said when she learned that bacteria had cleaned up the sarcophagus. “But if it works, why not?”

 

Fonte / source, foto:

--- NYT (31 May 31, 2021): C1.

www.nytimes.com/2021/05/30/arts/bacteria-cleaning-michela...

 

2). ROMA - S.v., 'Roma, Casina Farnese sul Palatino', in: "Arte: dai laboratori Enea i batteri 'restauratori' per riparare dipinti, affreschi e statue." ADNKRONOS / ARTE (10/04/2015).

 

Presto su opere custodite in Vaticano l'applicazione dell'innovativa tecnica made in Italy messa a punto dal team coordinato da Anna Rosa Sprocati che all'Adnkronos spiega: "Tecnica a basso costo e con molti vantaggi."

 

Batteri per restaurare statue, dipinti, affreschi, antichi manoscritti. Piccolissimi organismi che si nutrono in maniera selettiva delle scorie da rimuovere dalle opere e che agiscono come e meglio di un solvente senza però essere aggressivi né per l'oggetto da trattare, né per la salute degli addetti ai lavori.

 

E' il biorestauro, la tecnica tutta italiana messa a punto dai ricercatori dell'Enea che verrà a breve applicata in Vaticano per il restauro della 'Madonna della Cintola', dipinto su legno, e per riparare i danni su statue e fontane che si trovano nei giardini della Santa Sede. Si tratta di una tecnica molto promettente. Finora infatti il laboratorio Enea ha selezionato ben 500 ceppi di batteri capaci di intervenire in diverse situazioni e su molteplici materiali.

 

Sprocati,

"Abbiamo isolato questi microrganismi e li abbiamo classificati in base a ciò che sono in grado di fare - spiega all'Adnkronos Anna Rosa Sprocati, coordinatrice del laboratorio Enea di Microbiologia ambientale e biotecnologie microbiche - creando poi una nostra banca dati. In base agli interventi che ci vengono richiesti dagli esperti, selezioniamo quindi in laboratorio i batteri più adatti, li sperimentiamo e li applichiamo per 'aggredire' determinate sostanze senza danneggiare le opere trattate".

 

E la tecnica presenta diversi vantaggi: è a basso costo "perché - assicura la ricercatrice - crescere dei batteri su larga scala non implica davvero grandi spese", non pone problemi etici perché si basa su organismi naturali non modificati geneticamente, è di facile applicazione e non è dannoso per la salute dei tecnici.

 

"Questo tipo di approccio - sottolinea Sprocati - interviene quando le tecniche tradizionali non sono soddisfacenti o quando per esserlo necessitano di prodotti aggressivi per le opere o tossici per i restauratori". Sono proprio i restauratori infatti a beneficiare maggiormente della biotecnologia e a vedere nella sua applicazione un'alternativa promettente all'impiego dei tradizionali prodotti chimici. "L'uso dei batteri non è sostitutivo del lavoro degli esperti - tiene infatti a sottolineare la scienziata - ma ne costituisce uno strumento di lavoro. Noi - spiega - ci basiamo molto proprio sulle indicazioni che arrivano dai restauratori che ci chiedono aiuto. Senza il loro occhio del resto, spesso non ci sarebbe facile verificare l'efficacia di un trattamento".

 

Il tempo di un restauro fatto dai batteri varia a seconda del tipo di intervento. "Può bastare una notte - dice Sprocati - come nel caso di una crosta nera da rimuovere da una statua, o possono essere necessarie diverse applicazioni come è capitato per rimuovere i residui di smog dalla 'Lupa' di Giuseppe Graziosi custodita alla Galleria nazionale di arte moderna e rimasta all'aperto per 40 anni".

 

Diversi gli interventi di biorestauro richiesti agli scienziati Enea. Dalla Casina Farnese sul Palatino "dove abbiamo applicato diversi tipi di batteri in successione - spiega la ricercatrice - per rimuovere i residui dagli affreschi delle logge", alla soluzione trovata ma non ancora applicata agli affreschi del Palazzo dei Papi di Avignone, in Francia. "In questo caso il problema era rimuovere della colla vinilica che tra gli anni Venti e Settanta è stata spalmata sugli affreschi per consolidarli - spiega Sprocati - ma col passare del tempo questa colla ha creato un film opaco. Con il restauro tradizionale bisognerebbe ricorrere a solventi che rischierebbero di danneggiare i dipinti. Noi invece abbiamo individuato due ceppi di batteri in grado di mangiare il vinavil senza intaccare l'opera".

 

Fonte / source, foto:

--- ADNKRONOS / ARTE (10/04/2015).

www.adnkronos.com/batteri-al-posto-dei-solventi-dallenea-...

  

The Tribuna of the Uffizi (1772–8) by Johann Zoffany is a painting of the north-east section of the Tribuna room in the Uffizi in Florence, Italy.

 

Production

In the summer of 1772 Zoffany left London for Florence with a commission from Queen Charlotte to paint ‘the Florence Gallery’. (Neither she nor her husband George III ever visited Italy in person.) Still working on the painting late in 1777, he only finally returned to England in 1779.

 

Analysis

Artworks shown

Zoffany has varied the arrangement of the artworks and introduced others from elsewhere in the Medici collection. He gained special privileges, with the help of George, 3rd Earl Cowper (1738-80), and Sir Horace Mann (1706-86), such as having seven paintings, including Raphael’s Madonna della Sedia, temporarily brought in from the Pitti Palace so that he could paint them in situ in the Tribuna. In thanks Zoffany included a portrait of Cowper looking at his recent acquisition, Raphael's Niccolini-Cowper Madonna (Cowper hoped to sell it on to George III - it is now in the Washington National Gallery of Art), with Zoffany holding it (to the left of the Dancing Faun).

 

The unframed Samian Sibyl on the floor was acquired for the Medici collection in 1777 - it was a workshop copy of the pendant to Guercino’s Libyan Sibyl, recently bought by George III, and may be intended as a compliment to him.

 

List;

This list is incomplete:

 

Arrotino, bottom left (sculpture)

Chimera of Arezzo, bottom left (sculpture)

Cupid and Psyche, far left (sculpture)

Dancing Faun, left of back wall (sculpture)

Carracci, Venus and Satyr, top left of left wall

Raphael, Madonna della seggiola, left of left wall

Raphael, Madonna del cardellino, left of back wall

Raphael, St John the Baptist, middle of back wall

Raphael, Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi, top right of right wall

Reni, Charity, top right of left wall

Reni, Madonna, top right of back wall

Reni, Cleopatra, top left of right wall

Correggio, Madonna and Child, middle of left wall

Justus Sustermans, Galileo, right of left wall

School of Titian, Madonna and Child with St Catherine, top left of back wall

Franciabigio (formerly attributed to Raphael), Madonna del Pozzo, bottom right of back wall

Baby Hercules strangling two serpents, middle of back wall (sculpture)

Holbein, Sir Richard Southwell, middle-left of back wall

Portrait, once thought to be of Martin Luther by Holbein, middle-right of back wall

Holy Family, now attributed to Niccolò Soggi, bottom right of back wall

Rubens, Venus and Mars, middle of back wall

Rubens, Justus Lipsius with his Pupils, middle of right wall

The Two Wrestlers (sculpture), right of back wall

Pietro da Cortona, Abraham and Hagar, left of right wall

School of Caravaggio, Tribute Money, middle of right wall

Cristofano Allori, Miracle of St Julian, right of right wall

Squatting Egyptian figure (18th Dynasty), middle of room (sculpture)

Medici Venus, far right (sculpture)

Titian, Venus of Urbino, front right, resting on an ancient cinerary urn

Workshop of Guercino, Sibyl, bottom middle floor

 

Persons shown

All the connoisseurs, diplomats and visitors to Florence portrayed are identifiable, making the painting a combination of the British eighteenth-century conversation piece or informal group portrait genre, with that of the predominantly Flemish seventeenth-century tradition of gallery views and wunderkammers. However, this inclusion of so many recognisable portraits led to criticism at the time by Zoffany's royal patrons, and by Horace Walpole, who called it ‘a flock of travelling boys, and one does not know nor care whom.

 

Es la catedral de la ciudad, elevada al título de "Metropolitana" en 1582 por el Papa Gregorio XIII, que confirió la dignidad arzobispal a la diócesis de Bolonia.

Los primeros indicios del edificio se remontan al siglo X. La catedral ha sufrido varios cambios a lo largo de los siglos hasta alcanzar su aspecto actual, que se remonta a la renovación de 1605 que, sin embargo, hizo perder todo rastro de la primitiva estructura románico-gótica. El interior alberga pinturas de artistas como Prospero Fontana, Ludovico Carracci y Donato Creti.

El tesoro de la catedral alberga objetos y ornamentos litúrgicos del siglo XIV de gran valor artístico y espiritual.

[www.bolognawelcome.com]

Metropolitan Museum of Art , New York City

1585-1588. Oli sobre ela. 136 x 253 cm. Museu del Louvre, París. INV 210; MR 127. Obra exposada: Salle 712.

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.

 

In 1802 he refused the position of drawing master at Great Marlow Military College, a move which Benjamin West (then master of the RA) counselled would mean the end of his career. In that year, Constable wrote a letter to John Dunthorne in which he spelled out his determination to become a professional landscape painter:

 

For the last two years I have been running after pictures, and seeking the truth at second hand... I have not endeavoured to represent nature with the same elevation of mind with which I set out, but have rather tried to make my performances look like the work of other men...There is room enough for a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth.

 

His early style has many qualities associated with his mature work, including a freshness of light, colour and touch, and reveals the compositional influence of the old masters he had studied, notably of Claude Lorrain. Constable's usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He made occasional trips further afield.

 

By 1803, he was exhibiting paintings at the Royal Academy. In April he spent almost a month aboard the East Indiaman Coutts as it visited south-east ports while sailing from London to Deal before leaving for China.

 

In 1806 Constable undertook a two-month tour of the Lake District.[8] He told his friend and biographer, Charles Leslie, that the solitude of the mountains oppressed his spirits, and Leslie wrote:

 

His nature was peculiarly social and could not feel satisfied with scenery, however grand in itself, that did not abound in human associations. He required villages, churches, farmhouses and cottages.

 

To make ends meet, Constable took up portraiture, which he found dull, though he executed many fine portraits. He also painted occasional religious pictures but, according to John Walker, "Constable's incapacity as a religious painter cannot be overstated."

 

Constable adopted a routine of spending winter in London and painting at East Bergholt in summer. In 1811 he first visited John Fisher and his family in Salisbury, a city whose cathedral and surrounding landscape were to inspire some of his greatest paintings.

 

From 1809, his childhood friendship with Maria Elizabeth Bicknell developed into a deep, mutual love. Their marriage in 1816 when Constable was 40 was opposed by Maria's grandfather, Dr Rhudde, rector of East Bergholt. He considered the Constables his social inferiors and threatened Maria with disinheritance. Maria's father, Charles Bicknell, solicitor to King George IV and the Admiralty, was reluctant to see Maria throw away her inheritance. Maria pointed out to John that a penniless marriage would detract from any chances he had of making a career in painting. Golding and Ann Constable, while approving the match, held out no prospect of supporting the marriage until Constable was financially secure. After they died in quick succession, Constable inherited a fifth share in the family business.

 

John and Maria's marriage in October 1816 at St Martin-in-the-Fields (with Fisher officiating) was followed by time at Fisher's vicarage and a honeymoon tour of the south coast. The sea at Weymouth and Brighton stimulated Constable to develop new techniques of brilliant colour and vivacious brushwork. At the same time, a greater emotional range began to be expressed in his art.

 

Although he had scraped an income from painting, it was not until 1819 that Constable sold his first important canvas, The White Horse, which led to a series of "six footers", as he called his large-scale paintings. That year he was elected an Associate of the Royal Academy. In 1821 he showed The Hay Wain (a view from Flatford Mill) at the Academy's exhibition. Théodore Géricault saw it on a visit to London and praised Constable in Paris, where a dealer, John Arrowsmith, bought four paintings, including The Hay Wain. It was exhibited at the Paris Salon of 1824, winning a gold medal.

 

Of Constable's colour, Delacroix wrote in his journal: "What he says here about the green of his meadows can be applied to every tone". Delacroix repainted the background of his 1824 Massacre de Scio after seeing the Constables at Arrowsmith's Gallery, which he said had done him a great deal of good.

 

In his lifetime, Constable sold only 20 paintings in England, but in France he sold more than 20 in just a few years. Despite this, he refused all invitations to travel internationally to promote his work, writing to Francis Darby: "I would rather be a poor man [in England] than a rich man abroad." In 1825, perhaps due partly to the worry of his wife's ill-health, the uncongeniality of living in Brighton ("Piccadilly by the Seaside"), and the pressure of numerous outstanding commissions, he quarrelled with Arrowsmith and lost his French outlet.

 

After the birth of their seventh child in January 1828, Maria fell ill and died of tuberculosis on 23 November at the age of 41. Intensely saddened, Constable wrote to his brother Golding, "hourly do I feel the loss of my departed Angel—God only knows how my children will be brought up...the face of the World is totally changed to me".

 

Thereafter, he dressed in black and was, according to Leslie, "a prey to melancholy and anxious thoughts". He cared for his seven children alone for the rest of his life. The children were John Charles, Maria Louisa, Charles Golding, Isobel, Emma, Alfred, and Lionel. Only Charles Golding Constable produced offspring, a son.

 

Shortly before Maria died, her father had also died, leaving her £20,000. Constable speculated disastrously with the money, paying for the engraving of several mezzotints of some of his landscapes in preparation for a publication. He was hesitant and indecisive, nearly fell out with his engraver, and when the folios were published, could not interest enough subscribers. Constable collaborated closely with the talented mezzotinter David Lucas on 40 prints after his landscapes, one of which went through 13 proof stages, corrected by Constable in pencil and paint. Constable said, "Lucas showed me to the public without my faults", but the venture was not a financial success.

 

He was elected to the Royal Academy in February 1829, at the age of 52. In 1831 he was appointed Visitor at the Royal Academy, where he seems to have been popular with the students.

 

He began to deliver public lectures on the history of landscape painting, which were attended by distinguished audiences. In a series of lectures at the Royal Institution, Constable proposed a three-fold thesis: firstly, landscape painting is scientific as well as poetic; secondly, the imagination cannot alone produce art to bear comparison with reality; and thirdly, no great painter was ever self-taught.

 

He also spoke against the new Gothic Revival movement, which he considered mere "imitation".

 

In 1835, his last lecture to students of the Royal Academy, in which he praised Raphael and called the Academy the "cradle of British art", was "cheered most heartily". He died on the night of 31 March 1837, apparently from heart failure, and was buried with Maria in the graveyard of St John-at-Hampstead Church, Hampstead inLondon. (His children John Charles Constable and Charles Golding Constable are also buried in this family tomb.)