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
on the hill of Bergamo. Nevertheless, there were quite a few people from Bergamo and the surrounding area, including groups of masons and artisans, who moved to Venice. They commissioned traditional Venetian painters like Bartolomeo Vivarini and Cima da Conegliano to make altarpieces for churches in their home villages. Between the 1490s and the middle of the 1500s the Marinoni family's workshop employed a conservative style derived chiefly from the art of Zenale. By contrast, Andrea Previtali, who came from a valley in the mountains above Bergamo, went to study in Venice. He made a show of signing his works as a student of Giovanni Bellini (Cat. n. 30.) and introduced important new techniques and ideas to Bergamo. 7. LEONARDO'S FOLLOWERS Leonardo worked in Milan between 1482 and 1513 except from 1499 to 1508, when the city was occupied by the French. The entire generation of Milanese artists born in the 1460s and 1470s developed their skills in the almost mythological shadow of Leonardo, who introduced revolutionary new methods to painting and, to a lesser extent, sculpture. The basic works in this regard were the Virgin of the Rocks, made for the church of San Francesco Grande in Milan (Leonardo, Ambrogio and Evangélista de' Prédis were commissioned in 1483, but this work was probably still unfinished in 1490), and The Last Supper, made to adorn the dining hall of the Dominican Convent of Santa Maria delle Grazie. Much of the work on The Last Supper was done in 1495-97. Leonardo experimented with a completely new technique that allowed him to work in greater detail: he bypassed traditional fresco painting and painted in oils on a wall surface. Giorgio Vasari thought the painting was left unfinished because Christ's face was not fully elaborated. Leonardo's followers frequently resembled one another in their use of carefully modulated chiaroscuro, which lent an atmospheric density to the environment in which they placed theit figures. 8. CREMONA AND BRESCIA: A NEW "MANIERA" APPEARS ON THE PO PLAIN Surprisingly, Leonardo's great influence in Milan could hardly be felt in other parts of Lombardy, which might give the impression that Leonardo's works were only of interest to the elite attached to the Sforza court. The French occupied Milan in 1499, and the duchy lost its independence for good in 1516. This in effect blocked the spread of Leonardo's influence. Another style of painting developed in the fertile agricultural area of the Padana plain (Bassa padana). It was less intellectual, tended towards realism, partly recalling Foppa's achievements, and it gained inspiration, among other things, from the powerful use of colors by artists of Veneto. In eastern Lombardy, the cradle of this style, which was to become some kind of a North Italian maniera, was Cremona and Brescia. Eminent representatives of this style included Savoldo, Romanino and Moretto in Brescia, Altobello Melone and Gian Francesco Bembo in Cremona, and Callisto Piazza in Lodi. The scenes they painted were religious, but the characters seem to be rustic, life-like figures.
