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Detail of the Nativity scene, Sacro Monte di Varese

Beloved, for the study of the topic of the last lesson, in addition to the pages of the book text and class notes, You can also look at this beautiful text, which can be consulted online that downloading full: http://www.sacrimonti.net/User/index.php?PAGE=Sito_it/pub_luoghi_pellegrinaggio

Highly recommended, Then, a visit to "our" S. Monte di Varese, perhaps using the beautiful downloadable audio guides to your MP3 player made by the site ArteVarese.com: http://www.artevarese.com/av/admin/master/newadmin/tc.php?tcid=3&cmd = pres

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Piero Della Francesca

Piero Della Francesca, Montefeltro diptych
(Portrait of Battista Sforza and Federico da Montefeltro), Florence, Galleria degli Uffizi

To study the work of Piero della Francesca, I refer you to pages 190 to 199 of the textbook, suggesting, as always, to download the images shown in class, click on link below. Download the file



For those who were passionate about this enigmatic artist, I suggest you visit the site www.pierodellafrancesca.it where you will find a series of texts relating to restoration of the frescoes, as well as the animations shown in the classroom.

Buono studio!

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At cookers Porta Nuova

Attilio Pusterla, At cookers Porta Nuova , 1887, Milan, Galleria d'Arte Moderna

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.

We start, in the analysis of the painting, the title chosen. Pusterla shows us, in this choice in my opinion at all random, his vantage point of his painting. His goal is not to show the interior space of a relief, one of the spaces of the topography of Milan, but lead us to observe the people who go to cookers : The objective is fixed on the stories, the faces.

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.

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The technique of enamel

Merovingian fibulae, VI sec. about.

At this address you can find a useful text that explains in more detail, the techniques of enamel that have been introduced in class about the gold and Lombard, in general, medieval.


http://www.isapoggiardo.it/Materiale_sito/GLI% 20SMALTI.pdf