Pànfete, again - a clear break of the Deposition by Pontormo in color, with color that shines in the chest. Colors? Call them colors ...
I do not know ... If you take the poppies, left in the sunlight of a melancholy afternoon, when all is quiet ("because no woman ever sang - at three in the afternoon), and in a ardor of the cemetery - if you take them and grind them, here, comes out of a juice that dries immediately, well, a bit annacquatelo 'on a white linen cloth, and tell a child to spend a wet finger on the liquid : center of a fingerprint will be out pale, pale red, almost pink, but for the beautiful whiteness of laundry that the CIA under, and fingerprints will be collected at the edges of a string of violent red and precious, barely faded, dry it is now-ger , it becomes opaque, like on a whitewash ... But in the paper keeps fading, died, his live redness. So much for the red.
Green ...
The green leaves of the basins of the blue ...
the evening, when the bells ring and the women sing, on the threshold. And in the noble peace of the garden, as night falls the shadow of a storm: the leaves are motionless under the water surface, and are becoming more blue, until they become green. But it is green or blue? So they dressed some cruel soldiers, over the centuries. Lanzichenecchi or SS: and they left and fill in the ossuaries of the world with their memory of the color of that cloth - lost in the twilight of time.
But you do next to blue and green in the veins of the leaves in the pile of water, the green is true that crude alfalfa, stained only slightly from the brown earth [...]
Well ... all of you think you see a bearded face, which automatically associate with the face of Jesus But if you look at this second image, as amended to highlight what is in reality the photo, you'll understand how we have been deceived by our brain! 
Incredible, is not it? 
Detail of the Nativity scene, Sacro Monte di Varese 
Piero Della Francesca, Montefeltro diptych 
This work, long considered the ' only survivor of the catalog of adventure, was also the source of his fortune in part, undoubtedly presenting as one of his most interesting landscape in the painting of the late XIX century.
He, too, represents a real space: the kitchen of the Opera Pia cookers, opened in 1883 near the Porta Nuova, and facing at that time about the ships . Despite being completely changed the context, the building of ovens and still exists today, almost a relic of Milan that no longer exists.
place almost symbolic of deprivation Milan , they were created in an area , that of Porta Nuova, characterized by great economic dynamism, marked by the presence of industries such as Grondona, the Swiss, Pirelli, not to mention the activities rail transport. All this had led to a massive inflow of the working population, "who had found housing types in residential obedient to the elementary logic to minimize the cost of the dwelling on modest incomes" , attracted by the nearby industries. The choice of venue was not even a consideration foreign to the proximity of a line of the tramway.
Built to ensure good quality meals to workers and administered prices and poor families, the building was focused on a large dining hall capable of accommodating up to 160 guests. And 'this space that Pusterla chooses to depict, with a compositional daring, almost photographic, with a strong focus and accuracy of real data, so that the image is easily comparable with pictorial evidence, with intent clearly different from magazines from the era . Only one license of the author is macroscopic: the tables are shown some women, while according to the studies actually was made the division between the sexes . The figure is most striking is the interior space, congested spaces of people, so that you can barely look at a part of one of the tables in the foreground. The characters are delineated with a good variety physiognomy, well identified in the first, then gradually more and more blurred, made patches of color. There is also, as if to increase the tone of "documentary" of the work, choosing to include the written Pusterla really exist in the local . The color range, fairly clear, the canvas is played almost entirely in three colors: brown, ocher, blue. Emerging from this pattern the two sudden ignitions of red hats on the old pictured from behind, and the dress of touching sleeping girl in her mother's lap, one of the few people standing. There is no action, if not tied to eating, to cite an article that will examine in a moment "is a fast rise and fall of heads is a clatter continued" , if they deviate only two female figures, mother standing and a girl, her face a bit 'preoccupied notes beyond the heads in front of him.
We observe that the critical next two lines are the dominant style of reading Pusterla in this work: first, those who see strong impression mold of Impressionist, suggestions, as it was said, by the echoes manettiani present in the painting, as well as the bright color palette, on the other hand, those who, from this work, aim to see the painter Milan is a precursor, or a "supporter" of the Research Division.
Merovingian fibulae, VI sec. about. 
