D Major Tv visited Museo Poldi Pezzoli in Milan

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Discover with D Major TV one the most beautiful places in Italy and in the world: the Museo Poldi Pezzoli in Milan.

Visit with us the rooms of this nineteenth-century dwelling, in a dreamlike atmosphere, surrounded by art and beauty. Alida Altemburg President of D Major Tv interviews @Federica Manoli, Curator of the Collection, who guided us in the discovery of the Poldi Pezzoli Museum.

This is the description published on the 26 April 1881 newspapers: “A shrine that opens itself in the one thousand and one night tales. There are about twelve rooms, big and small, some full of precious objects. T

here are the most beautiful and authentic works of Lombard, Florentine and Venetian painting.

Together with a lot of jewelry, porcelain, glass, furniture and furnishing, and a room full of armors and arms, a splendor of lights and colors that demand more and more observing.” For more: www.museopoldipezzoli.it D Major Tv would like to thanks: Mr. Gianmarco Corradi, Social Media Strategist and Miss Francesca Mariotti,Institutional Relations

Ph:@Al Cool

The Studiolo of the Collector “Studio Dantesco”(“Dante’s Cabinet”), located inside the @Museo Poldi Pezzoli .Wanted expressly by Gian Giacomo Poldi Pezzoli around the mid-nineteenth century and entrusted mainly to the inspiration of two artists of the caliber of Giuseppe Bertini and Luigi Scrosati, it represented a private and personal place where the Milanese nobleman kept the finest pieces of his extraordinary art collection; deliberately, all the decorative and architectural apparatus is based on a fantastic and original conception of the Middle Ages typical of the fifties of the nineteenth century, a concept later negatively judged by a good part of the twentieth century critique.

The “Dante’s Cabinet” was almost completely destroyed during the Allied bombing raids of 1943, which hit, as well as the Poldi Pezzoli, numerous city monuments. The restorations that took place after the war partially erased the original eclectic imprint, making the environment all but anonymous. Today, after an important restoration campaign lasting over a year and curated by the Center of Restoration of Paola Zanolini and Ida Ravenna with the collaboration of Lavinia M. Galli Michero, we can finally reappear again the sumptuous decoration desired by Scrosati and the exquisite molded glass windows pre-Raphaelite of Bertini. The medieval world for these two artists is only the starting point for a figurative poetics that seems to anticipate the thriving Art Nouveau season and which stands as an authentic gem in our nineteenth-century decorative panorama.

Date: 1853-1856
Artist: Giuseppe Bertini, Luigi Scrosati, Giuseppe Speluzzi
Artist’s birth: Milan 1825; Milan 1815; Milan 1827
Death artist: 1898; 1869; 1890
Technique / Material: Various techniques
Location: Milan, Museo Poldi Pezzoli
Restitutions Edition: 2002
Author card in the catalog: Lavinia M. Galli Michero
Restoration: Paola Zanolini restoration center – Ida Ravenna under the direction of Sandrina Bandera (Superintendence for the Historical, Artistic and Demo-ethno-anthropological Heritage of Milan) Diagnostic analysis of the Opificio delle Pietre Dure and Restoration Laboratories of Florence TSA s.r.l. – Applied Scientific Technologies, Padua Archaeometry Laboratory Institute of Applied General Physics, Milan
Protection Authority: Superintendency for the Historical, Artistic and Demoetnoantropological Heritage of Milan 



View of the golden ceiling of “Dante’s Cabinet” Scrosati, in particular, appears to be an artist of great depth, able to recreate very unusual atmospheres, using techniques that have practically disappeared today, such as the use of punching, of a purely Sienese matrix, for the decoration of the splendid gold ceiling. Equally extraordinary is the bronze chimney of the Studiolo made with exceptional technical virtuosity by Giuseppe Speluzzi, under the supervision of Bertini, based on the drawings by Edmod du Somrand of the famous Candelabra Trivulzio. The iconographic program of the small room is completely based on Dante’s subjects (the Studiolo is also called Dante’s Cabinet). This approach refers us directly to the political climate of the time; Dante was seen by the Risorgimento patriots, such as Poldi Pezzoli, the true prototype of Italian genius to oppose the arrogance of Austrian power. So Milan finds another cultural gem thanks to this enlightened restoration that is accompanied by a volume full of equally precious essays: to begin to critically illuminate an artistic period so unjustly neglected as certainly our 19th century really appears a further merit of this intervention and its catalog

Walking through the museum house, with Federica Manoli,Manager of the Collections and essayist, which illustrates to Miss Alida Altemburg the splendid decorations, including Chinese porcelains, stuccos and chandeliers.

Alida Altemburg looks at the marvelous masterpiece known all over the world: Portrait of a Woman
Piero del Pollaiolo 1470.
This work, symbol of the Museum, is one of the most famous portraits of the Renaissance.
The profile of the lady, against a clear blue sky, is traced by a fine black outline. The mass of her hair, caught up in a veil, has a string of small pearls wound around it. The extraordinary richness of her dress, her hairstyle and her jewels suggest she must have been a prominent member of the Florentine aristocracy.
The work, dating from about 1470, belongs to an important series of female portraits painted in the second half of the fifteenth century by the Florentine workshop of the brothers Antonio and Piero del Pollaiolo. The great care in rendering the effects of light on the lady’s golden hair, on the pearls, on the precious stones and on the face, shows the influence of the innovations introduced in Italy by the contemporary Flemish painters.


Title: Portrait of a Woman
This famous painting portrays a rich Florentine woman, probably close to her wedding. At that time, for a young woman, this was the moment of the highest public visibility. Actually, the sumptuary laws allowed women to wear precious clothes and jewels only for their marriage and the following three years. The profile was a classical reminiscence, but also prevented the sitter from meeting the gaze of the viewer, as decency required. The woman stands against a clear blue sky with some clouds that seem to move gently behind her, as on a screen. Typical of Piero is the technique based on dense compact oil pigment, giving thickness to the smallest details: the velvet of the sleeve, the trim of the blouse, the jewels, the light blue ribbon around her head and the pin holding her refined hairstyle. In the early 19th century, the painting was already in Milan, in the collection of the prince Alberico XII Barbiano di Belgioioso d’Este. In its inventories it was listed as the portrait of an ancestor: the wife (whose name is not specified) of Giovanni II da Barbiano, Count of Cunio. Sold in 1814 by the heirs of Alberico, some decades later the portrait reappeared in the Milanese collection of Count Giberto VI Borromeo. Gian Giacomo Poldi Pezzoli purchased it within 1875.Date Created: 1470Physical Dimensions: w32.7 x h45.5 cm
Painter: Piero del Pollaiolo
Type: Panel
Rights: Fondazione artistica Poldi Pezzoli “Onlus”
External Link: http://www.museopoldipezzoli.it/en/node/876

Alida Altemburg inside on of the most beautiful room of the Museo Poldi Pezzoli surrounded by beauty of art


Pietà is a c.1455-1460 tempera on panel painting by Giovanni Bellini, now in the Museo Poldi Pezzoli in Milan. One of his earliest works, it is the prototype for his long series of other Pietas such as Pietà (Bergamo).
Jesus rises from the sepulchre, his body showing the pallor of death. The perspective of the sarcophagus invite the eye of the observer to explore the painting, across the footbridge on the watercourse, beyond the wood, to the lake reflecting a rosy light. Two tall cliffs frame the scene. On their tops stand out a dry tree, on the right, and leafy plants on the left, probably alluding to the sin and to the rebirth of the world thanks to Christ’s sacrifice.
An atmosphere of desolate solitude permeates this moving painting. The work, datable to c.1457, is one of the masterpieces of Giovanni Bellini’s early style.


Alida Altemburg with Federica Manoli, Curator of the Collection, in front of Santa Cecilia, Saint Patron of Musicians.The painting depicts Santa Cecilia on the organ, portrayed in half-length with the same compositional concept and the identical quality of pictorial execution of the series of saints (Flavia, Apollonia, Caterina, Barbara, Agnese) performed by Sassoferrato for the Benedictine convent of San Pietro in Perugia, between 1635 and 1650.
The work, however, deviates from the traditional iconographic repertoire of Sassoferrato, specialized in translating from Raphael or from the Umbrian-Marchese Renaissance painters such as Perugino or Timoteo Viti, the images of the Virgin in prayer, praying with the child or sorrowful, according to an enchanted and timeless purism. The Santa Cecilia does not seem to have any precise reference model other than a “reniana” imprint in the facial features. Even the narrative vivacity – rather unusual in the artist – (note the setting of the figure along the diagonal, the suspended gesture of the hand that beats the musical time, the precious brooch that stops the shawl on the shoulder) leads scholars to consider the painted an important contribution to the knowledge of the artist, who was not only a skilled copyist and a painter of devotional subjects, but also a brilliant interpreter of sacred art between the Counter-Reformation and Baroque.
The canvas is known as an autograph variant, limited to the face of the saint, preserved in the Galleria dell’Accademia di Venezia.
The canvas that belonged to the collection of the architect Luigi Bonomi, arrived at the Poldi Pezzoli Museum in 1987 for donation of Mrs. Eva Maria Sala. The painting, already known to Vitaletti who published it in the monograph on Sassoferrato in 1911, was exhibited at the Salvia exhibition held in Sassoferrato under the supervision of the Superintendence for Artistic and Historical Heritage of the Marches (1990) and published in its catalog (Silvana Editoriale , 1990, No. 27).
Restored on that occasion by Nuccia Comolli Chirici today is in excellent condition.



The Clock As the Visconti Venosta Room and the Ghislandi Room, also the Clock Room was added to the museum after the Second World War. The collection of clocks is one of the most important in Italy: since 1973, 129 mechanical clocks from the 16th to the 19th century, have been exhibited in this room, together with some sundials and an armillary sphere, all donated by the Milanese entrepreneur Bruno Falck. Other items belonged to Gian Giacomo Poldi Pezzoli or were donated to the museum in the 1980s.



The Clock As the Visconti Venosta Room and the Ghislandi Room, also the Clock Room was added to the museum after the Second World War. The collection of clocks is one of the most important in Italy: since 1973, 129 mechanical clocks from the 16th to the 19th century, have been exhibited in this room, together with some sundials and an armillary sphere, all donated by the Milanese entrepreneur Bruno Falck. Other items belonged to Gian Giacomo Poldi Pezzoli or were donated to the museum in the 1980s.


After the last donation, Poldi Pezzoli has in fact become the most important museum in Italy for antique watchmaking, and one of the most prestigious in Europe. In addition to the collection of portable sundials and sundials by Piero Portaluppi and the Clocks Hall, which brings together more than one hundred table and person pieces from the Renaissance to the nineteenth century donated by Bruno Falck in 1973, in the newly acquired spaces a third room is entirely dedicated to personal watches.

Details of Antique Clock
Here is a first selection of the very recent donation of the former collection of the Genoese Luigi Delle Piane (1877-1965). A wonderful collection that in ten showcases tells the history of watchmaking from the sixteenth to the twentieth century: Renaissance watches in German and English gilded brass, Baroque artifacts in French and German rock crystal and pendants in gold, enamel and semi-precious stones that conceal minute mechanisms

Among the enamel of the seventeenth century there is a real masterpiece: the watch by Jacques Goullons made in Paris in 1650-1660, whose case is illuminated by Robert Vauquer with scenes taken from the Battle of Constantine and Massenzio by Giulio Romano (Rome, Stanze Vatican 1520-1524). The exhibition continues with precious Swiss jewel-watches from the eighteenth and nineteenth centuries. There are signatures that have made the history of watchmaking as that of Abraham Louis Breguet (1742-1823), which is exhibited a precocious example of automatic perpetuelle of 1785. There is no shortage of curious specimens, such as the Lover’s eye watch destined for a clandestine lover or the universal à remontoir of the early twentieth century that simultaneously marks the hour of 43 cities in the world.


The museographic expansion closes with the extraordinary collection of 18th century European porcelains by Guido andMariucca Zerilli-Marimò, in which it is possible to admire all the main European constructions active in the eighteenth century.

For the new year, the Museum is planning a series of initiatives including art, music, literature and educational paths related to the theme of collecting watches and in-depth analysis of porcelain and archeology. «Art deserves more space» is the slogan that accompanies the museological extension of Poldi Pezzoli: an important step for what is one of the most famous museum houses in the world.




One of the most important European collections of antique arms and armours.The Room is designed by Arnaldo Pomodoro.




Thank you so much to Museum Poldi Pezzoli for the great hospitality.

If you are in Milan don’t miss a list to this enchanting place!

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Facebook: https://www.facebook.com/PoldiPezzoli/

Official Website: http://www.museopoldipezzoli.it



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