The author examines four terracotta busts of women (one now irreparably damaged) set on the entra... more The author examines four terracotta busts of women (one now irreparably damaged) set on the entrance façade of the so-called Casino di Sotto in Novellara, proposing an attribution to the sculptor Prospero Sogari, known as il Clemente, from Reggio Emilia. Alongside an analysis of style, which highlights close affinities with the artist’s oeuvre, the article seeks to investigate the original location of these busts. Although they now form part of a structure refurbished in the eighteenth century, the Casino owes its original layout to Alfonso I Gonzaga, who entrusted the design of the complex and its stuccoes and fireplaces to Lelio Orsi of Novellara in 1563. Prompted by the links with this painter, the author concludes by expanding her argument to a broader framing of these works in the context of Mannerism in Reggio.
Silvia Battistini et al. (a cura di), "Di non vulgare artifizio". Il collezionismo storico della ceramica a Bologna e le raccolte dei Musei Civici di Arte Antica, 2020
Influenced by engravings and book illustrations, between the end of the 15th and the beginning of... more Influenced by engravings and book illustrations, between the end of the 15th and the beginning of the 16th century maiolica painters began to explore the possibilities of painting narrative subjects, developing a new style called “istoriato”. Livy is one of the classical authors rediscovered in that period and he immediately became a popular source for istoriato maiolica: from modern editions of his works, printed for the first time in vulgar, images were taken that reflected the interest of Renaissance society, in particular of aristocracy and nobility, who were looking for behavior’s models and means of social confirmation. The article aims to analyze some representative cases of istoriato, such as two pieces now at Museo Civico Medievale in Bologna, both representing the inspiring episode of the Roman patrician Marcus Curtius, as it is described by Livy: a beautiful dish, painted in Casteldurante around 1551 by Ludovico and Angelo Picchi for an aristocratic family and part of a luxury service with a celebrative function, reflecting the owner’s erudition and social standing; a smaller cup decorated by Andrea da Negroponte workshop between 1550 and 1560 and intended to bourgeois patrons. In both pieces it is possibile to recognize the practice of assembling different iconographic sources, among which Raphael’s inventions for the Vatican tapestries committed by Pope Leo X in 1515.
Università degli studi di Roma "Tor Vergata"-Dipartimento di studi letterari, filosofici e di sto... more Università degli studi di Roma "Tor Vergata"-Dipartimento di studi letterari, filosofici e di storia dell'arte-Edificio B-Sala dipartimentale
The recognition and valorisation of forgotten heritage Il convegno si svolgerà in presenza in ott... more The recognition and valorisation of forgotten heritage Il convegno si svolgerà in presenza in ottemperanza alle norme anti Covid vigenti il 25-26 novembre 2021. L'accesso alla sede del convegno è limitato fino a esaurimento posti; in particolare potrà accedere chi è in possesso del green pass. Sarà inoltre necessario indossare la mascherina, mantenere una distanza interpersonale di almeno un metro e igienizzare le mani utilizzando gli appositi dispenser di gel disinfettante.
The author examines four terracotta busts of women (one now irreparably damaged) set on the entra... more The author examines four terracotta busts of women (one now irreparably damaged) set on the entrance façade of the so-called Casino di Sotto in Novellara, proposing an attribution to the sculptor Prospero Sogari, known as il Clemente, from Reggio Emilia. Alongside an analysis of style, which highlights close affinities with the artist’s oeuvre, the article seeks to investigate the original location of these busts. Although they now form part of a structure refurbished in the eighteenth century, the Casino owes its original layout to Alfonso I Gonzaga, who entrusted the design of the complex and its stuccoes and fireplaces to Lelio Orsi of Novellara in 1563. Prompted by the links with this painter, the author concludes by expanding her argument to a broader framing of these works in the context of Mannerism in Reggio.
Silvia Battistini et al. (a cura di), "Di non vulgare artifizio". Il collezionismo storico della ceramica a Bologna e le raccolte dei Musei Civici di Arte Antica, 2020
Influenced by engravings and book illustrations, between the end of the 15th and the beginning of... more Influenced by engravings and book illustrations, between the end of the 15th and the beginning of the 16th century maiolica painters began to explore the possibilities of painting narrative subjects, developing a new style called “istoriato”. Livy is one of the classical authors rediscovered in that period and he immediately became a popular source for istoriato maiolica: from modern editions of his works, printed for the first time in vulgar, images were taken that reflected the interest of Renaissance society, in particular of aristocracy and nobility, who were looking for behavior’s models and means of social confirmation. The article aims to analyze some representative cases of istoriato, such as two pieces now at Museo Civico Medievale in Bologna, both representing the inspiring episode of the Roman patrician Marcus Curtius, as it is described by Livy: a beautiful dish, painted in Casteldurante around 1551 by Ludovico and Angelo Picchi for an aristocratic family and part of a luxury service with a celebrative function, reflecting the owner’s erudition and social standing; a smaller cup decorated by Andrea da Negroponte workshop between 1550 and 1560 and intended to bourgeois patrons. In both pieces it is possibile to recognize the practice of assembling different iconographic sources, among which Raphael’s inventions for the Vatican tapestries committed by Pope Leo X in 1515.
Università degli studi di Roma "Tor Vergata"-Dipartimento di studi letterari, filosofici e di sto... more Università degli studi di Roma "Tor Vergata"-Dipartimento di studi letterari, filosofici e di storia dell'arte-Edificio B-Sala dipartimentale
The recognition and valorisation of forgotten heritage Il convegno si svolgerà in presenza in ott... more The recognition and valorisation of forgotten heritage Il convegno si svolgerà in presenza in ottemperanza alle norme anti Covid vigenti il 25-26 novembre 2021. L'accesso alla sede del convegno è limitato fino a esaurimento posti; in particolare potrà accedere chi è in possesso del green pass. Sarà inoltre necessario indossare la mascherina, mantenere una distanza interpersonale di almeno un metro e igienizzare le mani utilizzando gli appositi dispenser di gel disinfettante.
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Papers by Virna Ravaglia
Prompted by the links with this painter, the author concludes by expanding her argument to a broader framing of these works in the context of Mannerism in Reggio.
Talks by Virna Ravaglia
Prompted by the links with this painter, the author concludes by expanding her argument to a broader framing of these works in the context of Mannerism in Reggio.