- Gabriele Langosco studied Art History at the University of Genoa and received a master’s degree in 2019, writing a th... moreGabriele Langosco studied Art History at the University of Genoa and received a master’s degree in 2019, writing a thesis on the sculptor Taddeo Carlone (1543-1615). Afterward, his studies have been supported by a fellowship from the Fondazione Roberto Longhi and a grant from the Fondation Marc de Montalembert. His work is focused on the arts in Genoa between the 16th and 17th centuries, with a particular interest in the role of local sculpture in the Mediterranean trade of marble.edit
- Daniele Sanguinetiedit
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Working in Genoa, the Ticinese sculptor Taddeo Carlone (1543-1615) recurrently adopted Tuscan statuary models. While in the first half of the sixteenth century Genoa had been enriched by the works of artists such as Andrea Sansovino and... more
Working in Genoa, the Ticinese sculptor Taddeo Carlone
(1543-1615) recurrently adopted Tuscan statuary models. While
in the first half of the sixteenth century Genoa had been enriched
by the works of artists such as Andrea Sansovino and Giovanni
Angelo Montorsoli, Taddeo’s period of activity saw the presence
of Giambologna and especially Pietro Francavilla. As has been
recognised, such artists were summoned from Grand Ducal Florence
partly because of the commission of bronze statues for the
Grimaldi chapel in the now destroyed church of San Francesco
di Castelletto. Giambologna was present in Genoa only in 1579,
whereas Pietro Francavilla returned several times working with
Taddeo Carlone for the Senarega chapel in the Cathedral of San
Lorenzo. The discovery of new documents referring to this funerary
chapel, including the drawing for the project, offers an
occasion to clarify the role played by Taddeo in the construction
and decoration of the chapel. The author is thus able to identify
the extent of Pietro Francavilla’s influence on the sculptural and
architectural oeuvre of Taddeo Carlone.
(1543-1615) recurrently adopted Tuscan statuary models. While
in the first half of the sixteenth century Genoa had been enriched
by the works of artists such as Andrea Sansovino and Giovanni
Angelo Montorsoli, Taddeo’s period of activity saw the presence
of Giambologna and especially Pietro Francavilla. As has been
recognised, such artists were summoned from Grand Ducal Florence
partly because of the commission of bronze statues for the
Grimaldi chapel in the now destroyed church of San Francesco
di Castelletto. Giambologna was present in Genoa only in 1579,
whereas Pietro Francavilla returned several times working with
Taddeo Carlone for the Senarega chapel in the Cathedral of San
Lorenzo. The discovery of new documents referring to this funerary
chapel, including the drawing for the project, offers an
occasion to clarify the role played by Taddeo in the construction
and decoration of the chapel. The author is thus able to identify
the extent of Pietro Francavilla’s influence on the sculptural and
architectural oeuvre of Taddeo Carlone.
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Originario di Lanzo d’Intelvi e documentato a Genova dal 1555 al 1595, Bernardino Novi fu uno dei principali statuari operanti, a quelle date, nel capoluogo ligure. Tuttavia il suo nome, assente dalle fonti artistiche genovesi sei e... more
Originario di Lanzo d’Intelvi e documentato a Genova dal 1555 al 1595, Bernardino Novi fu uno dei principali statuari operanti, a quelle date, nel capoluogo ligure. Tuttavia il suo nome, assente dalle fonti artistiche genovesi sei e settecentesche, fu recuperato negli archivi cittadini soltanto nel corso dell’Ottocento (Alizeri 1875), per essere poi ritrovato in diversi documenti (Alfonso 1985) e citato sporadicamente negli studi sulla scultura a Genova (Parma 1987). Il riemergere di tale figura dall’oblio permise di identificare il Novi in quel Bernardino de Novo che fu autore, secondo fonti pavesi, delle statue di Virtù del monumento di Gian Galeazzo Visconti nella Certosa di Pavia (Marchesi 1992).
Lo studio della documentazione edita e inedita a lui riferita, la lettura stilistica dei suoi prodotti statuari e la contestualizzazione della sua carriera nel contesto genovese, lombardo e spagnolo sono elementi che permettono di delineare una prima, e mai percorsa dalla critica, ricognizione della sua attività. Con il presente intervento si vuole tentare di definire alcuni aspetti della produzione di Bernardino Novi, oltre che definire la natura della sua collaborazione con artisti quali Galeazzo Alessi e Pompeo Leoni.
Lo studio della documentazione edita e inedita a lui riferita, la lettura stilistica dei suoi prodotti statuari e la contestualizzazione della sua carriera nel contesto genovese, lombardo e spagnolo sono elementi che permettono di delineare una prima, e mai percorsa dalla critica, ricognizione della sua attività. Con il presente intervento si vuole tentare di definire alcuni aspetti della produzione di Bernardino Novi, oltre che definire la natura della sua collaborazione con artisti quali Galeazzo Alessi e Pompeo Leoni.
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Exhibition catalogue with studies about Carlone's family: from Taddeo to Giovanni Andrea the story of a family originally from Rovio (Canton Ticino) and active in the Republic of Genoa from the second half of XVI century until the end of... more
Exhibition catalogue with studies about Carlone's family: from Taddeo to Giovanni Andrea the story of a family originally from Rovio (Canton Ticino) and active in the Republic of Genoa from the second half of XVI century until the end of the XVII century. Essays on Taddeo, Giovanni, Giovanni Battista e Giovanni Andrea Carlone and on their bond with Genoa, Parodi Ligure and the Oltregiogo.
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El estudio del papel desempeñado por la constante circulación de manuscritos, libros, obras de arte, arquitectos y artistas durante la Edad Moderna sigue revelando interesantes datos sobre cómo este flujo constante de nuevos modelos,... more
El estudio del papel desempeñado por la constante circulación de manuscritos, libros, obras de arte, arquitectos y artistas durante la Edad Moderna sigue revelando interesantes datos sobre cómo este flujo constante de nuevos modelos, ideas y conceptos artísticos tuvo un papel clave en la configuración del urbanismo, la arquitectura, las artes plásticas y decorativas y el pensamiento en los territorios europeos y americanos.
En los últimos años, la historiografía ha ahondado en estas cuestiones, en especial en aquellas iniciativas vinculadas al ámbito de los círculos de humanistas de Roma, de la diplomacia y el coleccionismo, identificando los principales centros artísticos y los mecanismos de encargo y adquisición de trazas arquitectónicas o todo tipo de obras de arte, que en algunos casos gozaron de enorme fortuna cuando llegaron a su destino, y cuyas formas marcaron el devenir de los gustos y las iniciativas que se pusieron en marcha a partir de entonces.
El seminario internacional quiere ahondar, desde distintas perspectivas, en algunas de estas cuestiones, revisiones desde un punto de vista crítico las circunstancias, fundamentos teóricos y protagonistas en los que este flujo se desarrolló y consolidó, y el impacto que tuvo a lo largo del tiempo. No menos importancia tuvo el interés por el mundo antiguo grecolatino entre los humanistas y eruditos españoles de los siglo XVI y XVII, como pone de manifiesto la llamada literatura anticuaria o la mitología presente en los palacios.
En los últimos años, la historiografía ha ahondado en estas cuestiones, en especial en aquellas iniciativas vinculadas al ámbito de los círculos de humanistas de Roma, de la diplomacia y el coleccionismo, identificando los principales centros artísticos y los mecanismos de encargo y adquisición de trazas arquitectónicas o todo tipo de obras de arte, que en algunos casos gozaron de enorme fortuna cuando llegaron a su destino, y cuyas formas marcaron el devenir de los gustos y las iniciativas que se pusieron en marcha a partir de entonces.
El seminario internacional quiere ahondar, desde distintas perspectivas, en algunas de estas cuestiones, revisiones desde un punto de vista crítico las circunstancias, fundamentos teóricos y protagonistas en los que este flujo se desarrolló y consolidó, y el impacto que tuvo a lo largo del tiempo. No menos importancia tuvo el interés por el mundo antiguo grecolatino entre los humanistas y eruditos españoles de los siglo XVI y XVII, como pone de manifiesto la llamada literatura anticuaria o la mitología presente en los palacios.