10/12/2009 - Piermatteo D'AMELIA

The exhibition dedicated to Piermatteo d'Amelia is to offer the general public aware of a leading player in the second fifteenth century, one of the great masters of the Renaissance in Umbria. Its activities, with plenty of information at the papers, took place mainly in southern, in northern Lazio and Rome. Yet up to the fundamental insight of Federico Zeri (1953) which gave the teacher Amerino a group of works which, until then, Roberto Longhi (1927) and Bernard Berenson (1932) were united under the code name of the Master of the Annunciation Gardner, Piermatteo of Manfredo - Amelia born around 1448 and died after 1506 - had been confined in the vast array of artists "without works." The intuition of Zeri was confirmed in 1985 by the happy discovery of the commission contract blade of the Franciscans, painted for the church of San Francesco and now preserved in the Arts Center Opificio Syrians of Terni. The exhibition, curated by Vittoria Garibaldi and Francesco Federico Mancini, appears to be more of a multi-stage plan for the use of Umbrian art started in 2004 with the exhibition of Perugino and continued in 2008 with the exhibition Pintoricchio, these artists are two major exhibitions were devoted monographs, both arranged in the monumental rooms of the National Gallery of Umbria. Formed between 1467 and 1469 alongside Filippo Lippi in those years active in the Cathedral of Spoleto, Piermatteo after the death of Fra Filippo (1469), followed in Florence between Diamond's main collaborator of the artist Carmelite. In the Tuscan city came into contact with the opera workshop of Verrocchio. Soon after he began to side with which I work by Perugino in the Sistine Chapel (1480-1481), designing and participating in the decoration of the vault, along with Pintoricchio, to make parts fit as the journey of Moses and circumcision. From this moment the presence of Piermatteo Rome assumed the character of continuity. There were some, however, travel to Umbria to meet influential patrons such as the Opera del Duomo di Orvieto (1480-1481), the Augustinians, more and Orvieto (1482), and the Franciscans of Terni (1483). It 'at this stage that Amerino the painter came to the art of Antoniazzo Romano. This is evident, for example, in the altarpiece of Orvieto, now divided between Berlin, Altenburg and Philadelphia, where "the facility with which they are made openly monumental six main characters against the sacred gold, is a reworking, though intelligent but As ever handheld style that Antoniazzo had opened since 1480 "(Zeri). With the elevation to the papacy of Alexander VI, Piermatteo (1493), as well as obtaining titles and privileges, was involved in the decoration, now lost, and many rooms of the Borgia Apartment. Terni: the works of Piermatteo and fifteenth in ' Aida The exhibition is held in Terni around the Franciscan altarpiece (1483-85), recently restored and placed in its permanent home. This is the principal witness remained in the spot umbra of the intensive work of the artist. Impressive in size and rich decorations, the altarpiece was originally placed on the altar of the church of San Francesco, places of worship among the noblest and most ornate of the city. The exhibition also presents a partial reconstruction of the altarpiece of the Augustinians of Orvieto, a masterpiece of the artist, where you can admire a style that can combine the delicate naturalism of Filippo Lippi with the force model of Andrea del Verrocchio and the installation of monumental Antoniazzo Romano . The works are presented Piermatteo be related to those of contemporary painters like Filippo Lippi, Filippino Lippi, Fra Diamante, Bartolomeo Caporali, Antoniazzo Romano, Pintoricchio, pasture, Saturnino Gatti, both in relation to that of sculptors such as the Oldie, Francesco di Simone Ferrucci, Giovan Francesco Rustici. This with the aim of highlighting the continuing transfer of stylistic and iconographic forms between the two art forms. The loans have helped to bring about the exhibition come not only from the territory and the National Gallery of Umbria, from major Italian museums like the Uffizi Gallery, the Bargello, the Galleria Barberini and prestigious international collections such as the National Gallery in Dublin , Museum of Fine Art in Philadelphia and the Lindenau Museum in Altenburg. Amelia: Anthony Abbot by the testimony of the town section of the exhibition staged in Amelia revolves around the image of Saint Anthony Abbot (1474-75), a magnificent Piermatteo autograph, kept in the local museum. E 'flanked by three sculptures, also depicting Saint Anthony Abbot, a wooden, Lorenzo di Pietro said Vecchietta, from the Cathedral of Narni, dated 1474; one, always in wood, from Massa Martana, signed by such "magister de Pontianus Onofrio" and dated 1484, a glazed terracotta and polychrome, attributed to Andrea della Robbia. Continue like that, even at the seat Amerina, the dialogue between painting and sculpture already addressed in the place of Terni. It is also conceivable that the search for a volumetric forms part of the artist is sprung, even before the attendance of the workshop of Verrocchio, by contact with the local creative community, where Agostino di Duccio left, thanks to the patronage of the family Geraldini important examples of sculpture. Section Amerina has an 'appendix in the Cathedral and the church of San Francesco, where you can admire the tombs of Geraldini funeral in the Church of the Annunciation, the place of origin of the' Annunciation, now in 'Isabella Stewart Gardner Museum in Boston, and the birthplace of the painter. Falls in the itinerary also Amerino the parish church of pigs. Here Piermatteo and colleagues fresco a Madonna with Child and two saints that has close similarities with the altarpiece of the Franciscans of Terni. PLACES OF Piermatteo The path of the artist and the excellence of its territory as it has in the monographic exhibition dedicated to Perugino (2004) and Pintoricchio (2008), this exhibition event offers the opportunity to follow closely the artist in its territory, in the places of his artistic training in the context of origin of the works and at locations where expatriates are preserved some of the best examples of his painting. The charm of placid, refined and discreet paintings of Piermatteo is one of the hallmarks of his native land, whose visit is made even more attractive by the presence document in the same period of several artists 'excellent': Benozzo Gozzoli, Filippo Lippi , Domenico Ghirlandaio, Agostino di Duccio, Nicholas Pupil, John Spain, Tiberio d'Assisi, Antoniazzo Romano, Antonio da Viterbo the Pastura and many others. Masterpieces of these masters, just as the works of Piermatteo, were made in addition to major centers like Soleto, Terni, Narni, Amelia, in small villages scattered in Terni, in Valnerina, near Narni and packages amerini be considered as part of the routes proposed to complement the exhibition. If Piermatteo d'Amelia is an artist to be rediscovered and enjoyed the serenity of mind that is well suited to polite and hieratic figures of his paintings, it is equally true that the artist stands with a territory also be explored, from travel far and wide, patrolling the innermost depths. To make it easier to visit these places has been prepared and informed guide, edited by Saverio Ricci, written by a group of young art historians. On display is shown a video edited by Nino growing retraces the fascinating stages of the critical path of Federico Zeri, the first in 1953 to link the name of the mysterious painter Amelia Piermatteo of fifteenth convention called Annunciation Master Gardner. In the Cathedral of Spoleto Spoleto Filippo Lippi was called in the last years of life to realize the grand decoration of the apsidal chapel, frescoed between 1467 and 1469 with the Stories of the Virgin. Lippi took advantage of the collaboration between Diamond, the son and the young Filipino Piermatteo defined in the documents his "apprentice". Narnia in the church of St. Augustine in 1482, returning the Roman experience of the Sistine Chapel, fresco-painted Piermatteo wide funnel-shaped composition perspective, the center depicting the Virgin and Child Enthroned between Saint Lucia and Apollonia, in Blessing the Lord high and immortalized in the background the green landscape of the valley, celebrated in centuries by travelers of the Grand TourOrvieto in Orvieto Cathedral's art Piermatteo is witnessed by an archaic Imago pietatis, performed on a pillar of the right transept. The work of uncertain date, according to some scholars is the evidence sought to be identified with the painter before inviting him to complete the decoration of the Chapel of San Brizio, a 'business enterprise to which the Amerino resigned and was appointed in his place , in 1499, and Luca Signorelli. For the church of St. Augustine, where today is the magnificent series of statues on display late-mannered one time in the main nave, painted the altarpiece of the Augustinians Piermatteo partially reconstructed in the exhibition. Avigliano Umbro In the church of Our Lady of Toscolano once rural kiosk with the front open, you can see a cycle of mural paintings with subjects Mariani and various figures of saints, where they capture influences Lippi-verrocchieschi. The cycle is the most extensive testimony we received the activity of Piermatteo as frescante. -------------------------------- ------------------------------------------------ Piermatteo D 'AMELIA Since 12 December 2009 to May 2, 2010 Terni, CAOS Opificio Siri Amelia Arts Center, Museum of Archeology and Art Gallery Time: 10.00-19.00. Closed Monday. Closed December 25 and December 31. Open Monday, April 5. On Saturday the exhibition at the headquarters of Terni will be open until 24. 00 Mode of access: The two sites of the exhibition can be visited with a single ticket, which can also visit the Museo d'Arte Moderna e Contemporanea Aurelio De Felice and the Archaeological Museum that make up the chaos of Terni and the Archaeological Museum and Amelia the Art Gallery in the former College Boccarini. Intero Tickets: 9,00 ? - Reduced: ? 7.00, Groups over 15 people, more 65 years, with university identification card, resident in the Province of Terni, ticket holders of the System of Museums Museum of Umbria, the Museo dell'Opera del Duomo di Orvieto, waterfalls Marmore Civic Museums of San Gimignano and special conventions and coupons - special reduced: 3,00 ? schools and children 18 years. Free: children under 6 years, disabled and carer, professional guides, journalists with a valid ID card. Reservations: Required for groups and schools - Individual Euro 1.00, Euro 10.00 Schools guided tours (max 25 people): Euro 60,00 a home in schools, schools in both locations Euro 80.00; groups in a home Euro 100.00; groups in both locations Euro 120.00; language in a home Euro 120.00; language in both locations 140.00 Euro Info and reservations: www.piermatteodamelia.it, www.ticketeria.it, 199 757 516; Reservations for guided tours and didactic 800 911 984 CAOS: with the ticket to the exhibition can visit the Collection of Modern and Contemporary Art Aurelio De Felice, reopened in March, and the Archaeological Collection of the Center Arts Opificio Siri. For Terni and its artistic heritage www.comune. terni.it - Office Tourism IAT Terni tel.0744/423047 Archaeological Museum and Art Gallery: with the ticket to the exhibition can visit the Art Gallery and the Archaeological Museum which houses, in a room dedicated the bronze statue of Germanicus, a valuable and rare works of the first century AD found in 1963 and exposed after a long restoration. Promotion territory: holders of the entrance ticket to the exhibition will be eligible for a reduced admission to museums participating in the system of museums in Umbria, in the Museum Opera del Duomo of Orvieto and Marmore falls and vice versa. The exhibition and routes Piermatteo offer many opportunities for striking and a better understanding of Umbria, a region rich in natural beauty and art, history and traditions. www.regioneumbria. eu Press Civita Barbara Izzo-Ariadne Diana Phone 06 692050220-258 cell.348 8535647 izzo@civita.it; diana@civita.it; www.civita.it