Leone Leoni

I simboli più significativi, ed identificativi per la città di Guastalla e per la sua comunità, vennero ampiamente rappresentati sulle monete emesse dalla zecca cittadina. Nell'articolo se ne propone un percorso ideale nei luoghi e per immagini. Viene anche analizzata la cronologia della sparizione della spada che originariamente ornava la statua di Ferrante "Franton" Gonzaga.

The portrait medal of Michelangelo was completed by the medalist/sculptor Leone Leoni when Michelangelo was eighty-seven years old. The Latin inscription on the obverse, reads: Docebo iniquos vias tuas, et impii ad te convertenur (Vulgate 50:15). On the reverse Leoni carved an allegorical relief of a blind pilgrim led by a dog. I attempt to clarify the iconographic complexities of the medal allegory by investigating sources and contextual associations and clarifying the relationship between text and image. There has been little scholarly consensus regarding the medal's significance, and relevance of the allegory to the image or self-perception of the master remains enigmatic. Assumptions that Michelangelo's chose to identify himself as a pilgrim has promoted divergent interpretations. I claim that the topos of pilgrimage was appropriated for the medal in a metaphoric role, supported by literary sources and medieval manuscript illuminations that attest to the ubiquity of the pilgrimage theme. I question the deliberate contradiction between the lack of sight and seeing, in the sense of visual perception, introspection and visionary insight that was essential to Michelangelo's material and poetic creation. The theme of tenebrità and blindness in Michelangelo's poetry and his appropriation of Dante's Il mondo è cieco (a blind man in a blind world) is examined. The penitential context of the biblical inscription is linked to Michelangelo's self-recrimination and confessions of impiety. The guide dog identifying the figure as a blind man is shown to have played a unique role in moralizing iconography, as illustrated in gospel parables, and was furthermore conceived as a simile for the shepherd (Christ), who guides those who are spiritually blind into the fold of his followers. Concluding that the introspective message is metaphorically conveyed through the abstruse imagery and biblical inscription, I have argued that Michelangelo chose to be commemorated in his self-effacing humility.

En1549, Carlos V y Maria de Hungría encargaron a Leon Leoni la realización de una serie de esculturas en bronce, que el artista realizó en su taller de Milán en colaboración con su hijo Pompeo. Cinco de estas esculturas se encuentran en el Museo del Prado, y su estudio ha permitido conocer las técnicas de fundición empleadas en su realización, y por aproximación las fundiciones renacentistas.
A la información técnica, se ha sumado la correspondencia mantenida por Leoni, donde cuenta tanto sus problemas como sus éxitos, y también los tratados escritos por Benvenuto Cellini, donde explica cómo realizó la escultura Perseo, que se fundió entre 1545 y 1554 en Florencia, al mismo tiempo que se estaban fundiendo en Milán las cuatro grandes esculturas de Leoni.
La fabricación de estas cinco esculturas se realizó mediante la técnica de la cera perdida, tanto directa como indirecta. El artículo muestra el complejo proceso que llevaba una fundición en bronce, las diferentes fases que tenían que seguir, y las numerosas dificultades que se encontraban hasta que lograban la escultura.
En1549, Carlos V y Maria de Hungría encargaron a Leon Leoni la realización de una serie de esculturas en bronce, que el artista realizó en su taller de Milán en colaboración con su hijo Pompeo. Cinco de estas esculturas se encuentran en el Museo del Prado, y su estudio ha permitido conocer las técnicas de fundición empleadas en su realización, y por aproximación las fundiciones renacentistas.
A la información técnica, se ha sumado la correspondencia mantenida por Leoni, donde cuenta tanto sus problemas como sus éxitos, y también los tratados escritos por Benvenuto Cellini, donde explica cómo realizó la escultura Perseo, que se fundió entre 1545 y 1554 en Florencia, al mismo tiempo que se estaban fundiendo en Milán las cuatro grandes esculturas de Leoni.
La fabricación de estas cinco esculturas se realizó mediante la técnica de la cera perdida, tanto directa como indirecta. El artículo muestra el complejo proceso que llevaba una fundición en bronce, las diferentes fases que tenían que seguir, y las numerosas dificultades que se encontraban hasta que lograban la escultura.

New ideas concerning two of the most celebrated and popularly reproduced, though equally mysterious, bronze reliefs of the 16th century. An Adoration and Lamentation, often incorrectly cataloged as the work of Gian Federico Bonzagna, is instead probably a Milanese work inspired by Iberian-Italian modalities.

En Bruselas en 1549 Carlos V encargó al escultor Leone Leoni cuatro bronces y cuatro mármoles, a los que se añadieron nuevos encargos. Trabajados en Milán, los primeros, junto a otras obras, llegaron a España con la venida del emperador y la corte. En este artículo se analiza el devenir de los mármoles y un busto (Museo del Prado, E-260, E-262, E-267, E-269, E-291), que se enviaron desde Génova a Cartagena, donde
permanecieron hasta 1568. Después de años de olvido Pompeo Leoni fue encargado de concertar su traslado hasta su casa en Madrid con Juan de Lugano, artista y empresario del mármol. Pompeo finalizó la mayoría de estas obras.

In Brussels in 1549 Charles V commissioned four bronze and four marble sculptures from Leone Leoni, to which were added new orders. The sculptor worked on them, especially the bronzes, in Milan, and they were shipped to Spain along with other works at the time of the arrival of the Emperor and the Court. This article discusses the history and evolution of the marbles and a bust (Prado Museum: E-260, E-262, E-267, E-269, E-291), which were sent from Genoa to Cartagena, where they remained until 1568. After years of neglect, Pompeo Leoni was commissioned to arrange for their transfer to his house in Madrid along with Juan de Lugano, artist and dealer in marbles, where Pompeo finished most of these works.

Nei decenni centrali del XVI secolo, le corti di Carlo V, Maria d’Ungheria e Filippo II, le loro parentele, la mobilità dei loro patrimoni, i viaggi e le esperienze dei loro ministri, ufficiali e ritrattisti favorirono una rete di relazioni che sfugge ai modelli interpretativi delle storie dell’arte nazionali e regionali: le vicende della medaglia ne sono testimoni. Attraverso profili di artisti, effigiati, agenti, committenti, consulenti, donatori, fruitori e possessori di raccolte questo libro esplora le pratiche sociali e le forme di riconoscimento reciproco attivate dall’esecuzione, promozione e accettazione di microritratti. La produzione, la circolazione e la conservazione di medaglie si dimostrano cartine al tornasole utili per valutare le forme di scambio, interazione e cooperazione maturate tra Milano, Bruxelles e altri centri dei domini asburgici.

https://edizioni.sns.it/en/culture-di-scambio-medaglie-e-medaglisti-italiani-tra-milano-e-bruxelles-1535-71.html

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.

The history of the equestrian and personal monuments offers clear signs of the dress code. For from the early examples from the 15th century (Padua, Ferrara), through the monuments in Florence, to the France of Louis XIV, the monuments show a structured development in the representation of dress. It oscillates between the reception of antiquity, contemporary clothing and strange hybrid forms. Their interpretation is still open. In the following an attempt will be made to relate the representation of clothing to the respective understanding of history. It seems as if the artistic use of garments refers to linear or cyclical models of history in which the dignitaries play their role.

Este artículo plantea como hipótesis la influencia de los conocidos como Libros de medallas en la elaboración conceptual y formal del grupo escultórico Carlos V y el Furor.

Palabras clave: Escultura; Renacimiento; Libros de medallas; Leone Leoni.

FROM MEDAL TO SCULPTURE: A CONTRIBUTION TO THE CONCEPTUAL AND ICONOGRAPHIC SOURCES OF "CARLOS V AND FURY"

This article proposes the hypothetical influence of "Medals Books" in the conceptual and iconographic elaboration of the sculptural group Carlos V y el Furor.

Paper on Galeazzo Arconati as collector of Antiquities. The paper examines the masterpieces of his collection displayed in Villa Arconati: the colossal Tiberius wrongly identified with Pompey the Great and the casts of Trajan's column made by Primaticcio. Then the paper comments the Galeazzo's interest for the great military ancient (Pompey and Trajan) and modern (Gaston de Foix) commanders. About Roman portrait, Tiberius, Trajan column, Primatice, Federico Borromeo, Ambrosiana.

King Philip II of Spain (1527-1598), among the most important art collectors of the Renaissance, was a patron as learned and refined as demanding and stringent in his tastes; these did not always coincide with those of his contemporaries. Protector of masters such as Titian and Pompeo Leoni, with whom he maintained an extensive personal correspondence, Philip also esteemed the works of Pellegrino Tibaldi to the same extent that he despised what Federico Zuccari or Luca Cambiaso left in the Monastery-Palace of El Escorial. Thanks to his numerous letters and, above all, to the description of his artistic interests recorded by biographers and chroniclers, such as the Hieronymite friar José de Sigüenza, this paper will try to establish, and comment on, an index of Italian artists who suffered a ‘bad reception’ on the part of the Prudent King. Significantly, the likes and dislikes of the sovereign, in relation to the Italian Renaissance, paved the way for his successors on the Spanish throne, especially by his grandson Philip IV (1605-1665), the other great, discerning collector and patron of the Habsburg dynasty during the Early Modern Age.

Elena Arias Riera, adscrita al Departamento de Restauración, describe la técnica de cera perdida directa empleada en la fundición de las esculturas en bronce de Leone y Pompeo Leoni pertenecientes a la colección del Museo Nacional del Prado.

The bronze portrait bust of the Count of Hessen-Homburg (1633-1708) is a special feature of the ruler's representation in the sculpture art of Northern Germany. Andreas Schlüter combined in it a multitude of sources of inspiration, which he led to a synthesis of artistic and iconological refinement. In confrontation with great artists such as Gianlorenzo Bernini (1598-1680) or François Dieussart (ca. 1600-1661), Schlüter created a portrait that set new standards in the genre of the state portrait in terms of form and content. The following article attempts to analyse and interpret three essential achievements of the landgrave bust. They concern the high quality of the plasticity (I), the elaborate drapery (II) and the unusual fusion of antiquity and the present (III).