Leone Leoni

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.

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.

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

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.