Pinacoteca di Brera, Milan
Dance of the Cupids, Francesco Albani
St Jerome in the Desert, Lazzaro Bastiani
The Death of St Jerome, Lazzaro Bastiani
St Jerome Bringing the Lion to the Convent, Lazzaro Bastiani
Portrait of Andrea Doria as Neptune, Bronzino
Stigmatization of St. Francis, Vincenzo Foppa
Mary altar, predella: Miracle of St. Dominic, Benozzo Gozzoli
Legend of St. Stephan: Disputation of St Stephen, Vittore Carpaccio
Adoration of the Magi, Correggio
Madonna della Candeletta, Carlo Crivelli
Crucifixion, Carlo Crivelli
The death of the Doge Marin Faliero, Francesco Hayez
Portrait of Giocchino Rossini, Francesco Hayez
Portrait of Camillo Benso Cavour, Francesco Hayez
The Kiss, Francesco Hayez
The hunter, Domenico Induno
Porrtrait of a Lady, Nicolas de Largilliere
In the vine, Silvestro Lega
The tooth puller, Pietro Longhi
Portrait of the singer Domenico Annibali, Anton Raphael Mengs
The Three Archangels, Marco d'Oggiono
St. Peter and St. Paul, Guido Reni
Discovery of the body of St. Mark, Jacopo Tintoretto
Lamentation of Christ, Jacopo Tintoretto
St. Jerome, Titian
Crucified Christ, Cosmè Tura
The Baptism of Christ, Paris Bordone
Boy with a Basket, Giacomo Ceruti
The
Pinacoteca di Brera ("Brera Art Gallery") is the main public gallery
for paintings in Milan, Italy. It contains one of the foremost
collections of Italian paintings, an outgrowth of the cultural program
of the Brera Academy, which shares the site in the Palazzo Brera.
History
Madonna della Candeletta, Carlo Crivelli. c. 1490
The
Palazzo Brera owes its name to the Germanic braida, indicating a grassy
opening in the city structure: compare the Bra of Verona. The convent
on the site passed to the Jesuits (1572), then underwent a radical
rebuilding by Francesco Maria Richini (1627–28). When the Jesuits were
disbanded in 1773, the palazzo remained the seat of the astronomical
Observatory and the Braidense National Library founded by the Jesuits.
In 1774 were added the herbarium of the new botanical garden. The
buildings were extended to designs by Giuseppe Piermarini, who was
appointed professor in the Academy when it was formally founded in
1776, with Giuseppe Parini as dean. Piermarini taught at the Academy
for 20 years, while he was controller of the city's urbanistic
projects, like the public gardens (1787–1788) and piazza Fontana,
(1780—1782).
For the better teaching of architecture,
sculpture and the other arts, the Academy initiated by Parini was
provided with a collection of casts after the Antique, an essential for
inculcating a refined Neoclassicism in the students. Under Parini's
successors, the abate Carlo Bianconi (1778–1802) and artist Giuseppe
Bossi (1802–1807), the Academy acquired the first paintings of its
pinacoteca during the reassignment of works of Italian art that
characterized the Napoleonic era. Raphael's Sposalizio (the Marriage of
the Virgin) was the key painting of the early collection, and the
Academy increased its cultural scope by taking on associates across the
First French Empire: David, Pietro Benvenuti, Vincenzo Camuccini,
Canova, Thorvaldsen and the archaeologist Ennio Quirino Visconti. In
1805, under Bossi's direction, the series of annual exhibitions was
initiated with a system of prizes, a counterpart of the Paris Salons,
which served to identify Milan as the cultural capital for contemporary
painting in Italy through the 19th century. The Academy's artistic
committee, the Commissione di Ornato exercised a controlling influence
on public monuments, a precursor of today's Sopraintendenze delle Belle
Arti.
The Romantic era witnessed the triumph of academic
history painting, guided at the Academy by Francesco Hayez, and the
introduction of the landscape as an acceptable academic genre, inspired
by Massimo D'Azeglio and Giuseppe Bisi, while the Academy moved towards
becoming an institution for teaching the history of art. Thus in 1882
the Paintings Gallery was separated from the Academy.
From
1891 the exhibitions were reduced to triennial events, and
architectural projects developed their autonomous course. During the
period of the avant-garde when Modernism was becoming established, the
director of the Academy Camillo Boito had as pupil Luca Beltrami, and
Cesare Tallone taught Carlo Carrà and Achille Funi.
The
Brera Observatory hosted the astronomer Giovanni Schiaparelli for four
decades, and the Orto Botanico di Brera is a historic botanical garden
located behind the Pinacoteca.
References
Brera Gallery official website (Italian)
Accademia di Brera official website
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