Maria Teresa Fiorio

Sandrina Bandera

Sandrina Bandera Bistoletti

Featured in documents dating from as early as the ninth century, the church of San Maurizio al Monastero Maggiore in Milan is one of the oldest and remarkable testaments to the evolving art and architecture of the city. The numerous cycles of frescoes that adorn the interiors of this former Benedictine convent, suppressed in 1798, afford a cogent testimony to the development of painting in sixteenth-century Lombardy. This book offers the first detailed photographic study of one of the Lombard Renaissance's most complex and articulated monuments, gradually completed in the course of nearly a century. Given the complexity of the subject treated, the book has been divided into four large sections, each one accompanied by a plan of the church that enables the reader to follow the monument's unfolding cycles with each successive phase of additions, including the renowned works of Bernardino Luini, one of the greatest painters of Renaissance Lombardy. The appendices include a bibliography, an index, and the complete records of documents relating to the frescoes and furnishings of the church. Featured in documents dating from as early as the ninth century, the church of San Maurizio al Monastero Maggiore in Milan is one of the oldest and remarkable testaments to the evolving art and architecture of the city. The numerous cycles of frescoes that adorn the interiors of this former Benedictine convent, suppressed in 1798, afford a cogent testimony to the development of painting in sixteenth-century Lombardy. This book offers the first detailed photographic study of one of the Lombard Renaissance's most complex and articulated monuments, gradually completed in the course of nearly a century. Given the complexity of the subject treated, the book has been divided into four large sections, each one accompanied by a plan of the church that enables the reader to follow the monument's unfolding cycles with each successive phase of additions, including the renowned works of Bernardino Luini, one of the greatest painters of Renaissance Lombardy. The appendices include a bibliography, an index, and the complete records of documents relating to the frescoes and furnishings of the church.

BERNARINO LUINI AND RENAISSANCE PAINTING IN MILAN.

Pietro C. Marani

As a versatile and highly ingenious man, Leonardo da Vinci perfectly embodied the universalist spirit of his age. A painter, sculptor, engineer, anatomist, musician and inventor, he was active in the diverse fields of art and science and is now considered one of the most famous cultural figures not only of the Renaissance, but of all time and all places. Promoted by the Municipality of Milan, this monographic exhibition conceived and developed by Palazzo Reale and Skira editore is the most important ever to be organized in Italy. Opening on 15 April 2015, it will provide a unique opportunity to admire and gain an all-round understanding of the extraordinary complexity of this universal genius. Visitors will be able to discover Leonardo's versatile work in twelve different sections featuring his original codices, over one hundred autograph drawings (including around thirty from the famous Codex Atlanticus) and a large number of artworks: drawings, manuscripts, sculptures, incunabula and sixteenth-century books from the world's finest museums and libraries. A universal genius for a universal exposition, in celebration of the undisputed symbol of Italian art and creativity, whom the international public is able to recognize immediately and who is also a symbol of Milan and its eclectic activity in the field of the arts, industry and technology. -- Publisher's website.

il disegno del mondo

Leonardo da Vinci, 1452-1519

Pietro Marani

A vast catalog dedicated to Leonardo’s entire oeuvre on the occasion of the largest exhibition realized on the genius, symbol of Italian art and creativity, during Milan Expo 2015. This volume represents a unique opportunity to admire and understand Leonardo’s extraordinary complexity as an artist, painter, and sketcher, and, in part, his work as a scientist and technologist. This alluring volume is meant to illustrate, through twelve sections, some central themes in Leonardo’s entire artistic and scientific career, underlining some constants in his vision as an artist and a scientist, as well as his interdisciplinary vocation and continuous intermingling of interests. The catalog gathers oeuvres signed by Leonardo—paintings, drawings, and manuscripts—introduced by works from his predecessors—painters, sculptors, technicians, theorists—which can contextualize Leonardo’s contribution to the history of art, science, and technology while offering, at the same time, a vision of Leonardo the artist and scientist of his age, without giving in to mythmaking and banality. Two final sections show the influence of Leonardo the painter and art theorist on the modern era and the creation of his legend, centered on the Mona Lisa.The volume also includes masterpiece paintings by Leonardo, some of his original codes, and over one hundred signed drawings, as well as a considerable number of artworks, drawings, manuscripts, sculptures, and codes from major museums and libraries around the world and from private collections, with works by Antonello da Messina, Botticelli, Filippino Lippi, Paolo Uccello, Ghirlandaio, Verrocchio, Antonio and Piero del Pollaiolo, Jan van Eyck, and Bramante, just to name a few.

Maria Teresa Fiorio

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