Dr. Erdősi Péter - Dr. Mazányi Judit szerk.: Lombard reneszánsz. A bergamói Accademia Carrara festményei (PMMI – Ferenczy Múzeum kiadványai, 28. Pest Megyei Múzeumok Igazgatósága, Szentendre, 2009)

III. Angol nyelvű összefoglaló / Abstract

ABSTRACT The exhibition The exhibition presents most of the Lombard Renaissance paintings stored at the Accademia Carrara. The period in question began shortly before the middle of the fifteenth century (Quattrocento) and lasted until the second or third decade of the sixteenth century (Cinquecento) when the ultimate crisis of the Italian states, which culminated in the sack of Rome (Sacco di Roma) in 1527, ended this brilliant period. The geographical area covered corresponds roughly to the modern-day region of Lombardy with a special emphasis on its eastern part, where Bergamo is located, even though the city belonged to the Venetian Republic at that time. East Lombardy also includes Brescia, Cremona and Mantua, three cities with frequent and lively cultural relations throughout the ages. The focal point of these relations was Milan, seat of the Duchy of Milan, but it did not always play a key role. In choosing paintings from the current Accademia Carrara collection for inclusion in this exhibition, we tried to highlight the role of the art collectors in Bergamo. We put particular emphasis on presenting the differences in method and taste among Giacomo Carrara, Guglielmo Lochis, and Giovanni Morelli, all of whose collections later ended up in the museum. 1. COURT GOTHIC AND FLEMISH INNOVATIONS The Late Gothic continued to dominate Lombardy in the middle of the Quattrocento, first under the reign of the Visconti family and then, from 1450, under Francesco Sforza. In Milan, the architectural and artistic activities of the period are marked by large-scale construction projects. Work progressed on the Milan Cathedral and was begun on the Ospedale Maggiore (Ca' Granda) and the Carthusian monastery (Certosa) of Pavia, while the Sforza Castle, which was the residence of the Dukes of Milan, and the Dominican Church of Santa Maria delle Grazie underwent extensive reconstruction. The most prominent artist of this period was Bonifacio Bembo, a painter and miniaturist whose style, in keeping with court traditions, was characterized by flexible cadences, rich materials and elaborate details. Complementing this tradition was the influence of rhc emerging Flemish painting, which was in perfect harmony with this world and which was so very captivated by the visual representation of the texture and most minute details of absolutely everything. The Triumph of Love, which has only recently been determined to be the work of a Florentine artist, was included in the exhibition because for a long time this painting was thought to have been done by a painter in the Lombard school associated with Bonifacio Bembo. 2. NEW TOUCHSTONES: PERSPECTIVE AND CLASSICAL ANTIQUITY The arrival of Donatello, the greatest Florentine sculptor of the century, in Padua in 1443 is the most important turning point in North Italian art in the entire Quattrocento. The innovations of rational perspective and the return to the means of expression used in classical art enthused an entire generation of artists, who were often linked together by the years spent as students in the workshop of Francesco Squarcione, whose most prominent student was Andrea Mantegna. For one or two decades this new style continued to exist alongside the Gothic in North Italy, but it is also clear that the more cultured people connected to Humanism favored the classical. There are not many signs that art was moving in this direction in Bergamo, although an important artist, who is now named as the Master of 'cartelling because his name is unknown, was working in the city around 1460. Such aspects of court Gothic as gilded embossing elements or charming faces can be found in his paintings, though Donatello's influence is also quite evident in the small, robust angels he painted. Bernardino Butinone, born in Treviglio near Bergamo, was one of the leading painters in Milan in the last three decades of the fifteenth century.