Pagina 37
(27 febbraio 2002) - Corriere della Sera
(http://archiviostorico.corriere.it/2002/febbraio/27/Italia_ultimo_disegno_privato_Michelange
lo_co_0_0202274583.shtml )
TRANSLATION:
Much, but not all of the information contained in this report – which is
coloured with the suggestion of a ‘giallo’ – was included in a press
release issued by the Studio ESSECI (Padua), a press agency, on the
occasion of the very brief public presentation of the drawing at the
Palazzo Barbaran da Porto, Contrà Porti, Vicenza (see infra).
4
(http://www.larena.it/storico/20020227/IE.PRIMA/F.htm ; 18.12.2002.
This link is no longer functional, but the text can be searched in the Archive
(‘Archivio’) of the newspaper: http://www.larena.it .
Naturalmente nessuna indiscrizione trapela circa la cifra che è stata pagata per
entrare in possesso del disegno di Michelangelo: l’unico riferito per stimare il
valore del disegno è il prezzo pagato l’anno scorso per un disegno di Michel-
angelo, “La donna velata”, battuto all’asta da Sotheby’s per 24 miliardi. Ma da
Vicenza tengono a far sapere che l’importo per questo disegno è stato “molto,
ma molto inferiore”. Insomma, non è stato pagato prezzo di mercato.
TRANSLATION:
The precious “schizzo”, the last in private hands, has been given over by an
English collector in memory of her husband
■ The Love of Italy brings a Michelangelo
home
The drawing acquired by the “Centro Palladio” of Vicenza, thanks to the
Fondazione Cariverona [Cassa di Risparmio di Verona (...)]
Vicenza. More than a drawing it is a cinematic ‘snapshot’ captured from the life
of Michelangelo, an X-ray of his turbulent and ‘terrible’ creativity, a ‘flashback’
of his working method, constituted by a thought process that communicates
impulsivity without ever reaching it. “The Agony and the Ecstasy”, to say it
with the movies of Hollywood. The exceptional drawing – a sketch of a
triumphal arch, four papier-mâché façades destined to honour Pope Leo X who
entered Florence in 1515, and then overlaid by a new idea on top of the old one,
retracing it and modifying it with red chalk – is now conserved in the vault of
the ‘Centro internazionale di studi di architettura “Andrea Palladio”,’ in
Vicenza.
The drawing has arrived in the Veneto from England, after a year of nego-
tiations between the Centro Palladio and the family of an English collector who
acquired it at auction from Sotheby’s in 1979. The widow of the collector has
wanted to give it up to an Italian institution in order to honour the memory of
her husband, who was madly in love with Italy.
6
The importance of the drawing and of its acquistion, the latter rendered possible
thanks to the Fondazione Cariverona must be understood from at least two
points of view. Firstly: this is the last drawing by Michelangelo still in private
hands. All the others are the property of museums and cannot be sold. Secondly:
for once it is Italy to regain a piece of her artistic patrimony, which instead
usually enriches foreign collections. The authorship of Michelangelo and the
importance of the drawing has been certified by Caroline Elam, the editor of the
prestigious monthly publication, “The Burlington Magazine”, which is the true
authority in this sector.
Naturally no indiscretion has leaked out about the price that was paid in order
to come into possession of the drawing by Michelangelo: the only point of refer-
ence useful to estimate the value of the drawing is the price paid last year for a
drawing by Michelangelo, “La donna velato” [The Veiled Woman], which fell
under the hammer at Sotheby’s for 24 billion [Lire? Nota bene: The sum appears
to be an error.]. But at Vicenza they make a point of stressing that the amount
paid for this drawing was “molto, ma molto inferiore” [much, indeed very much
less]. So the market price was not paid.
The press release issued on the occasion of the ‘primo marzo 2002’
reads:
COMUNICATO STAMPA
Vicenza. Apparso per una sola ora, custodito in una speciale teca “difesa” da
due guardie armate, nel corso della presentazione alla stampa ed alle autorità,
il prezioso disegno di Michelangelo “Progetto per un arco trionfale” riportato
7
Per informazioni: Centro Studi Andrea Palladio, Vicenza tel. 0444.323014 fax
0444.322869
Sito: www.cisapalladio.org
In early July 2002 the present writer held a public lecture at the
Kunsthistorisches Institut in Florence that addressed many of the open
questions concerning the drawing mentioned above, in particular the
“mystery “ of the verso, including its authorship and purpose. CISA
facilited my study of the original in preparation for the lecture,
providing photographs and transparencies for projection. Along with
other components of CISA, Howard Burns received an early invitation
to attend, which he declined to follow. The large, and largely
Florentine public included numerous qualified experts of
Michelangelo and of architectural drawings.
Shortly thereafter, in September 2002, the lecture was, in all its essen-
tials published in Apollo (The International Magazine of the Arts,
CLVI, No. 487, pp. 22-29), at that time perhaps the leading English-
language monthly for the history of art. This publication is found in
very many libraries. The article put forward an identification of the
draughtsman of the verso – Jacone – which in turn served to clarify
the purpose of the arch on the recto: 1525, the Feast of San Felice in
Piazza (Florence), of the Annunciation to Mary at the church of San
Felice undertaken by the Compagnia dell’Orciuolo, as described by
Vasari in his account of Jacone. In the event, as the title above
suggests, both the attributions to Michelangelo and to Jacone, as well
as the date, have proved mistaken, but the destination for the Feast of
San Felice in Piazza and the connection with the church of San Felice
remain among the few certainties about the drawing.
http://findarticles.com/p/articles/mi_m0PAL/is_/ai_n27152781 .
A first press release for the exhibition, issued in the summer of 2006,
reads:
Centro Internazionale di Studi di Architettura Andrea Palladio
Fondazione Casa Buonarroti
Michelangelo: disegni di architettura
Vicenza, Museo Palladio
in palazzo Barbaran da Porto, 17 settembre – 10 dicembre 2006
Firenze, Casa Buonarroti, 15 dicembre 2006 – 19 marzo 2007
Vernice per la Stampa: sabato 16 settembre 2006, ore 12
15
Ulteriori informazioni e immagini: www.studioesseci.net
COMUNICATO STAMPA
Questa mostra è dedicata a quelli che sono forse fra i più bei disegni di
architettura di ogni tempo, tracciati da un autore di eccellenza, Michelangelo,
che attraverso di essi ci racconta le proprie strategie di progettazione.
Presenterà alcuni dei più bei disegni architettonici che Michelangelo abbia
realizzato nell’arco della sua vita, disegni che ci permettono di leggere la
complessità delle sue procedure di progettazione. Sappiamo che spesso queste
ultime prendevano avvio da un modello in cera, purtroppo mai conservatosi, si
evolvevano sul foglio da disegno, per concludersi con disegni in scala 1:1
tracciati in cantiere: sarà ad esempio possibile presentare in mostra riproduzioni
al vero dei disegni di Michelangelo ritrovati sulle pareti della Sacrestia Vecchia
a Firenze. L’esposizione renderà ragione delle tipologie e delle finalità dei
diversi disegni, dal vero e proprio modello per la facciata di San Lorenzo, al
famoso disegno per Porta Pia, agli straordinari studi di fortificazioni.
Un disegno di architettura può apparire talvolta muto agli occhi del pubblico.
Molto spesso viene letto come un’icona del progetto realizzato e non per quello
che in realtà è: uno strumento per la progettazione di un’opera in cui sono
appuntati i pensieri dell’architetto, verificate soluzioni diverse e, in definitiva,
dove sono registrati il tracciato del pensiero dell’artista e l’evoluzione del
progetto stesso, come attraverso un sismografo o un encefalogramma. Ciò vale
in particolar modo per il corpus grafico di Michelangelo Buonarroti: nei suoi
disegni le diverse soluzioni progettuali spesso si sovrappongono le une alle altre,
dando origine a un palinsesto, a un vero e proprio diario di viaggio alla ricerca
della forma, che si conclude solo con l’opera realizzata.
Il consiglio scientifico della mostra si avvale di alcuni fra i più noti specialisti di
disegno di architettura e di Michelangelo, che cureranno anche i testi in
catalogo. Comprende Guido Beltramini (CISA Andrea Palladio), Luciano Berti
(Fondazione Casa Buonarroti), Howard Burns (Scuola Normale Superiore,
Pisa), Cammy Brothers (Virginia University), Caroline Elam (Courtauld Insti-
tute of Art, London), Marzia Faietti (Gabinetto Disegni e Stampe degli Uffizi),
Michael Hirst (Courtauld Institute of Art, London), Mauro Mussolin (New York
University in Florence), Pina Ragionieri (Fondazione Casa Buonarroti).
Vicenza, Museo Palladio in palazzo Barbaran da Porto (contrà Porti 11), dal 17 settembre al
10 dicembre 2006.
La mostra sarà successivamente riproposta a Firenze, in Casa Buonarroti, dal 15 dicembre
2006 al 19 marzo 2007.
Per informazioni:
web site CISA: www.cisapalladio.org
Ufficio Stampa: Studio ESSECI – Sergio Campagnolo tel. 9049.663499
info@studioesseci.net
The use of my name in this press release certainly did not require my
consent, although, in light of my having declined to participate in the
exhibition, the organizer would have been correct to inform me,
before involving me in his project and associating me with it in
countless newspaper and Internet reports. By the same token, Michael
Hirst was placed, without his knowledge on the Comitato Scientifico
of the exhibition, where he, in fact, declined to serve. Similarly,
according to Elam’s complaints, reported by her friends and others
who had spoken with her, her detailed expertise was published in
‘Michelangelo e Vicenza’ (2002) without her consent, contrary to what
is stated in the depliant (p. 7: “which she has allowed us to reproduce
here”). She did, however, consent to be the ‘curatrice’ of the
exhibition catalogue.
Comunicato Stampa
Questa mostra è dedicata a quelli che sono forse fra i più bei disegni di
architettura di ogni tempo, tracciati da un autore di eccellenza,
Michelangelo, che attraverso di essi ci racconta le proprie strategie di
progettazione.
Per informazioni:
web site CISA: www.cisapalladio.org <http://www.cisapalladio.org>
www.studioesseci.net/allegati/mostre/269/CS%201.Michelangelo.doc.doc
Comunicato Stampa
non è raro trovare versi poetici appuntati dal Maestro accanto agli schizzi di
architettura, quasi ad esprime di getto l’emozione sorta dall’aver “inventato”
forme armoniche, poetiche appunto. Ma anche perché si serve, nelle sue
architetture non di figure scolpite, ma di capitelli e basamenti, luce e ombra che
evocano i grandi temi poetici della Vita e della Morte, dell'Amore, del Tempo e
della Fama.”.
“Benché non sia mia professione”, come egli stesso scrive, in architettura
Michelangelo è stato grande, grandissimo, interprete, assolutamente all’altezza
di quanto ha raggiunto in pittura, scultura e poesia.
Riunire a Vicenza trenta opere originali di questo livello è stata una impresa non
facile. Determinante è risultato l’apporto del museo Ashmolean di Oxford, e
della grande raccolta di disegni di Christ Church della stessa città, oltre che
naturalmente della casa Buonarroti che ospiterà la mostra vicentina dal 15
dicembre 2006 al 19 marzo 2007.
Vicenza, Museo Palladio in palazzo Barbaran da Porto (contrà Porti 11), dal 17 settembre al
10 dicembre 2006. La mostra sarà successivamente riproposta a Firenze, in Casa Buonarroti,
dal 15 dicembre 2006 al 19 marzo 2007.
http://www.studioesseci.net/mostra.php?IDmostra=269
This text may be read at the largest art history libraries at Rome, Florence, and
Münich (www.kubikat.org). Electronic versions have circulated. Upon appli-
cation, an electronic copy may be received from FONDAMENTAarte (eMail:
fondamentaARTE@t-online.de).
Owing to other commitments, Rectification [2], which was written in 2006 has
not appeared earlier.
24
RECTIFICATION [2]:
The following text was written in early October 2006; some additions
were made on 23 October 2006 (here given in italics). The text has
been read in 2006 by some Michelangelo experts and by other
qualified readers. It constitutes the promised second part of
Rectification [1]: Apropos ‘Scheda ventiquattro’ in the Exhibition
“Michelangelo e il disegno di architettura” (Vicenza-Florence, 2006-
2007), pp. 209-219, München, FONDAMENTAarte, 2006
[September]. The text itself constitutes a sort of ‘draft research’, a
work in progress to which it is hoped that contributions and
corrections may come from others. In as much as the findings have
already informally circulated, I have chosen to make widely accessible
the text in the formulation of October 2006. A few subsequent
additions and modifications have been made here in the form of
clearly identified addenda.
(2) The under drawing, as it has been revealed, does not appear
to make any particular claim to be from Michelangelo's hand,
considered as a drawing in and of itself. For the inscription "b.
5¼", see infra.
(a) The intention of the red chalk under drawing is, possibly,
to register the dimensions of the portal of the church San Felice
in Piazza and, almost certainly, to map out very summarily the
outlines of a design preparatory to the pen and ink drawing
applied over it, which elaborates it in order to formulate a plan
for the temporary decoration of the entrance door of the church
on the occasion of a feast of the Confraternity of the Virgin
Annunciate called "dell'Orciuolo". Very many, if perhaps not
most sixteenth-century Florentine drawings in pen and ink are
drawn over lightly sketched under drawings in chalk or pencil,
which have been made in preparation for the subsequent ink
drawings, which, in turn, often conceal the under drawing. That
the present under drawing is, functionally, closely bound to the
over-drawing suggests rather compellingly that both drawings
are by the same draughtsman, who obviously understood how
to complete the very summary and only half-formulated sketch,
which he had conceived; see, for instance, the 'palla medicea'
with peripheral 'dadi' (cubes) at the right, in ink, which the
draughtsman knew to add, in completion, to the 'palla' at the
left, in a variation intended from the outset, but not prescribed
explicitly in the under drawing itself. This consideration
logically appears to eliminate the claim of Jacone to the
authorship of the pen and ink drawing applied over the under
drawing (in that he is not the author of the under drawing), a
conclusion which accords with the very numerous doubts
expressed in the exhibition catalogue (CISA-Casa Buonarroti)
concerning the presence of Jacone's hand in the drawing. In any
event, the normal case for the vast majority of old master
drawings is that they are executed by a single hand. Despite
exceptions, drawing is not a collaborative art. (Michelangelo's
drawings do contain a perhaps unusual number of extraneous
27
At the far left of fig. 24f (Raccolta grafica, no. 1 verso: under
drawing) there is sketched in, in red chalk, a circle surrounded
on its periphery by small circlets. The under drawing is
effectively made as a pro memoria, as is the pen-and-ink
design drawn over it, which, in turn serves to explicate and
clarify certain aspects of the under drawing. As the pen and
ink drawing makes explicit, the circle and circlets of the under
drawing are to be understood as round, that is, as spherical.
In the under drawing, only four circlets are indicated explicitly
in red chalk, but symmetry demands that five circlets are to be
understood implicitly. As soon as we comprehend that the
large circle represents a globe, then it becomes clear that a
further circlet or 'pallina' lies on the far side of the globe (which
we do not see) at an 'equatorial' latitude. Thus the small 'palle'
are in the number of six, that is in the number of 'palle' that
belong to the Medici arms ('stemma'). The 'palle' symbolisms
29
PARLANCE (dialogue/dialogo):
The organizer of the manifestations centered around the CISA drawing has
repeatedly proposed the drawing as a topic for discussion. The recourse to a
press agency, Studio Esseci (Padova), has prompted innumerable treatments of
the drawing in the Italian press, placing it in the public domain. The pamphlet,
Michelangelo a Vicenza, expresses the hope that future research will answer the
many open questions concerning the drawing. In his conclusion to ‘Scheda
ventiquattro’ Burns lists a number of open questions concerning the drawing
that, again, remain for future research to discuss, indicating an interest in a wider
consideration of the drawing. Nevertheless, Burns has sought this dialogue
through interviews with journalists, and with his own students, but he has shied
away from discussions with professional colleagues and with members of the
Centro’s Comitato scientifico. I suggested, in writing, to the Uffizi drawing
cabinet and to CISA that they organized a ‘tavola rotonda’ in Florence during the
exhibition at the Casa Buonarroti, but this suggestion was not followed.
PRICE:
Although it is suggested that to name the price paid by Cariverona for the
drawing is somehow indiscreet, the economic functioning of the art market
requires that prices be known to the market of buyers and sellers, the art market
is a focus of modern art history, and the price paid reflects a current estimate of
how convincing an attribution at the time of the sale transaction is, both for
buyer and seller.
At Vicenza the question of price was addressed in various forms in 2002 and
2006, at the times of public manifestations. One spoke of the “long negotiation”,
lasting a year. A central topic in sale negotiations is price. In comparison to the 6
million pounds sterling paid for a Michelangelo drawing a year earlier, the price
paid was “molto, ma molto inferiore” – “not a market price”. The generosity of
the former owner is “reflected in the price”. – “The negotiated price reflected the
owner’s desire to facilitate the permanent transfer of the drawing to the Centro”
(Burns, in: Michelangelo a Vicenza, p. 7). That would mean that the widow
42
accepted a price less than she sought in negotiations, that is, a price ‘less than
Michelangelo’. The seller is thanked on p. 10 (Michelangelo a Vicenza): “(...) it
remains only to thank the former owner of the drawing for wishing that the
drawing should find a permanent home in Italy, and specifically at the Centro
(..).” Usually donors rather than sellers are thanked, but here the “negotiated
prices” are in play.
There was nothing secret or confidential about the price paid: the equivalent of
Euro 220.769 in pounds sterling. The Fondazione Cariverona placed this
information in the public domain on its web sites:
“Dopo oltre due secoli, grazie alla Fondazione, è tornato in Italia un disegno
architettonico attribuito a Michelangelo, databile verso la metà del secondo
decennio del Cinquecento, conservato in una importante collezione privata
inglese. È l’opera dell’artista ormai quarantenne che si sta avvicinando
all’architettura dopo le esperienze come scultore e come progettista del
monumento funebre di papa Giulio II. Il disegno, eseguito di getto, più per
fermare un’idea che per meditata elaborazione, fu accolto nel corpus dei disegni
del grande artista stabilito da Charles de Tolnay e si avvale delle attribuzioni di
A. E. Popham, J. Wilde, Caroline Elam, Howard Burns, i maggiori studiosi di
Michelangelo. Il disegno, acquisito per 220.000 Euro circa, è stato concesso in
deposito al CISA di Vicenza, che già possiede un corpus di disegni di Andrea
Palladio.”
(http://www.acri.it/3_fond/3_fond_files/Bilanci_2001/4705_B_01.pdf )
Documentation:
http://www.fondazionecrverona.org/home1.php3 : 'Bilancio di esercizio
consuntivo, 2001', p. 34: "€220,000"
The art sales index, Art Sales Index Ltd., 1979: see 'Michelangelo'
(£14,000 / $29,400) = The Annual Art Sales Index, 1978/1979, vol. II, p.
1056: Michelangelo, Project for an Arcus Quadrifrons Monument.
The price paid in 1979 was significantly (circa 20%) below the estimated
price. The price appreciation between 1979 and 2001 is complicated by
the introduction of the Euro, but using the US Dollar as a common
denominator, the following computation is possible:
PROVENANCE:
The provenance of the drawing is not a secret. A number of art historians,
including students of architecture, saw the drawing at its two showings in
London in 1979, and some, including Burns and his friends, were present at the
public auction in June. Thirty years is a long time, but it is within the living
memory of a number of surviving participants.
TOLNAY: “In any case the drawing was already present in England when Charles
de Tolnay included it in his Corpus of Michelangelo drawings; it remained in
England after a private collector bought it at a Sotheby’s sale in 1979” (2002).
See the Sale catalogue, 1979, quoted infra: letter of Tolnay, 25.02.1975, that is at
the time the drawing was exhibited in London, February 1979, well before the
sale in June. Paul Joannides called Tolnay’s attention to the drawing. It is not at
all clear that Tolnay ever saw the original drawing. It is included in the last
volume of the Corpus (1980). Tolnay died on 17 January 1981 in Florence.
“It is not known when it left Italy. It is possible that it once formed part of the
collection at the Casa Buonarroti in Florence, deriving from Michelangelo
himself (...)”, 2002, p. 7. In 2002 several newspapers reported that the drawing
left Italy 200 years earlier. See 2002, p. 7: sales of drawings from the Casa
Buonarroti by Filippo Buonarroti (1761-1839) and Cavaliere Michelangelo
Buonarroti (1805-1960): sales of drawings, e.g., to Wicar (then to Lawrence).
This has the effect of suggesting a prestigious provenance, a typical marketing
argument.
(3) Sale Sotheby's, London, 28 June 1979, lot 40 (sale catalogue: An Interesting
Collection of Old Master Drawings, Sotheby's, 1979). Sold by the widow of H.
N. Squire.
(4) 1979: Acquired at the auction (3) by "una importante collezione privata
inglese" (http://www.fondazionecrverona.org/home1.php3)
(5) 2000 ca.: Inherited by the widow of the “collezionista inglese”, Maureen
Burns, sister of Howard Burns (Michelangelo a Vicenza, Vicenza, CISA
Palladio, 2002)
(7) 2 March 2002: deposited at CISA (The Bank remains the owner, retaining
incidents of ownership.)
This provenance has been confirmed by the responsible parties, to whom I have suggested,
directly and indirectly, that it be made public.
46
Conclusions:
What does all this mean for the attribution to Michelangelo? In 1979, the names
Popham, Wilde, and Tolnay seem to furnish a strong hand in favour of an
attribution to Michelangelo. But in the interim, other estimates of the drawing
have emerged. It is stated in Michelangelo e Vicenza (2002) that the drawing
“has been examined at various times by scholars” (p. 7). The only scholars
named beyond those who examined it in 1979 or earlier are Wolfgang Lotz and
perhaps Caroline Elam (pp. 7-8). One asks, who were the others and what were
their conclusions?
Some have questioned the wisdom of having a Vicentine institution acquire the
drawing. I have no doubt that the operation was undertaken in the unquestioning
belief that the drawing was by Michelangelo. The buyer was, it is reported,
aware of the identity of the seller. Nevertheless, the fautori of this adventure
were not unaware that qualified doubts existed. These doubts may also be
reflected in the price. If the drawing is ‘not by Michelangelo’, as I and others are
convinced, the acquistion appears, at the least, injudicious and perhaps even rash
and reckless.
47
Lionello Puppi (Giornale dell’arte, December 2008). Puppi is the author of two
catalogues of Michelangelo’s architecture (1964; 1964)
Christof Thoenes (in: Michelangelo 1475 – 1564. Das vollständige Werk, Frank
Zöllner; Christof Thoenes; Thomas Pöpper, Köln: Taschen Verlag, 2007,
768 pp. – Thoenes’s Corpus (id est, “complete”) of Michelangelo’s
architectural drawings does not include the Vicenza drawing.)
This list includes the names of those who have expressed themselves clearly in
print and/or to a number of people, sometimes including the present writer. The
list could be easily be greatly expanded, but in general it is to be hoped that
scholars will speak for themselves, although, owing to the embarassing
circumstances surrounding this drawing, there has been a general reluctance to
come into contact with it. I first addressed the drawing unaware of these
circumstances (although the custodians had ample opportunity to inform me, as
they had others), and this alternative is not left open to me.
There are other topics that might be considered more closely with regard to the
drawing. These include the price history of the Old Master Drawings market,
with specific reference to Michelangelo drawings, the problem of objectivity in
Elam’s commissioned expertise, raised by Puppi, the rôle and the repeated use of
the Burlington Magazine and its imputed prestige in attempts to sell the
drawing, to conceal its provenance, and to impose its attribution to
Michelangelo. It might further be noted that a good part of what has been
48
written about the Vicenza drawing fits into the pattern of what auction houses
write about their offerings to increase their attractiveness to potential buyers.
And there are yet further questions that remain. The present exposé represents
findings essentially as of late 2006. Questions should be addressed to the
original dimensions and character of the sheet of which the present drawing is
only a fragment. This is important for the proper interpretation of the surviving
elements. Its vertical folding, presumably in the middle is of interest, and it
corresponds to the practice of some architectural draughtsmen. The reading of
the inscriptions remains equivocal, but “adverso” seems correct. The literature
cited for the drawing is incomplete. It is also reproduced in: Alessandro Nova,
Michelangelo – Architetto, Milano: Jaca Book, 1984. (This work escaped my
attention in 2002 because the KHI-Florence copy was missing for many years.)
The insistent connection of the drawing’s arch with Bramante is incorrect, and it
is based on a mistaken architectural analysis. The adamant insistence of Burns
and Elam on a dating of ca. 1515 for the recto belongs to the same unalterable
pattern. The discussion of the instances of “arco doppio” in scheda 24 is
incomplete. The erection of a monumental column in the Piazza San Felice in
1572 may provide an ante quem for an ephemeral arch on the piazza.
LA REPUBBLICA, 1.09.2006
PAOLO VAGHEGGI
Vicenza
Sotto questo disegno ve n'è un altro a matita rossa, uno schema, scoperto da
Howard Burns, della Normale di Pisa, curatore dell'esposizione con Guido
Beltramini e Caroline Elam. E insieme allo schizzo l'elaborazione al computer
ha messo in rilievo un piccolo scritto autografo di Michelangelo, delle stesse
50
dimensioni di quelli che inviava alle cave di Carrara. Insomma ora non v'è
nessun dubbio attributivo su questo disegno che fino al 1979 era conservato in
una raccolta inglese. Fu pubblicato da Charles de Tolnay ma soltanto oggi si è
potuto ricostruire la storia del disegno, che segue lo schema del portale della
chiesa fiorentina di San Felice in piazza.
Tutto comincia con Iacone, che sembrava destinato a diventare un bravo artista
ma che poi, come ricorda il Vasari, "ebbe sempre più il capo a darsi buon tempo
et altre baie et a stare in cene e feste con gl'amici che a studiare e lavorare". A
Iacone fu commissionato l'arco per San Felice e come altri chiese aiuto a
Michelangelo che gli regalò un vecchio studio. Questo sostiene Burns è
testimoniato dallo scritto appena ritrovato. E per questo dice che è il primo
disegno di architettura, scampato al rogo che Michelangelo fece delle opere
preparatorie "accio nessuno vedessi le fatiche durate da lui et i modi di tentare
l'ingegno suo, per non apparire se non perfetto".
NB “per trentamila sterline” è un errore, si tratta di dollari; see: The art sales
index, Art Sales Index Ltd., 1979: vedi 'Michelangelo' (£14,000/$29,000), thus
$30,000 in 1979.
PAOLO VAGHEGGI. Inviato speciale de “La Repubblica” e Direttore di “Kataweb Arte”
Vagheggi è tra le non molte firme che fanno opinione nel giornalismo culturale ed è per
questo che ci ha onorato constatare il suo interesse per le vicende del nostro ambito e, in
generale, per la salvaguardia e valorizzazione dei beni monumentali e culturali. Su questi
temi, Paolo Vagheggi è intervenuto più volte su Repubblica e ancora di più su Kataweb Arte il
sito specializzato sull’arte oggi tra i più autorevoli e seguiti in Europa, che egli ha creato e
dirige. Lo ha sempre fatto con puntualità ed efficacia, da grande maestro di giornalismo e
appassionato uomo di cultura quale è. Il nostro Premio intende testimoniare la stima per
questo suo grande lavoro e abbiamo l’ambizione di credere che a conferirglielo e idealmente
consegnarglielo non sia solo l’istituto Regionale Ville Venete ma tutto il mondo della cultura
italiano che, come noi, gli è grato. (STUDIO ESSECI)
ADIANEWS.IT
semplicità e cortesia da gentiluomo che ciò gli è stato facile "con l'ausilio
di nuove tecnologie digitali ho scoperto il disegno originale di mano di
Michelangelo sottostante il ripasso ad inchiostro di un suo allievo e,
accanto, sempre autografa del Maestro, una annotazione di misure
espresse in braccia fiorentine." Burns ha anche dimostrato che il verso di
questo disegno raffigura il portale della chiesa fiorentina di San Felice in
Piazza da addobbare per la festa annuale della chiesa. Le ricerche hanno
anche portato ad assegnare a Michelangelo un edificio sino ad oggi di
architetto anonimo del Cinquecento, il Palazzo di Baccio Valori - oggi noto
come Galli Tassi, in via Pandolfini a Firenze.
(...)
http://www.aidanews.it/old_site/articoli.asp-IDArticolo=6542.htm
LA REPUBBLICA:
uno schema, scoperto da Howard Burns, della Normale di Pisa, curatore dell'
esposizione con Guido Beltramini e Caroline Elam. E insieme allo schizzo l'
elaborazione al computer ha messo in rilievo un piccolo scritto autografo di
Michelangelo, delle stesse dimensioni di quelli che inviava alle cave di Carrara.
Insomma ora non v' è nessun dubbio attributivo su questo disegno che fino al
1979 era conservato in una raccolta inglese. Fu pubblicato da Charles de Tolnay
ma soltanto oggi si è potuto ricostruire la storia del disegno, che segue lo
schema del portale della chiesa fiorentina di San Felice in piazza. Tutto
comincia con Iacone, che sembrava destinato a diventare un bravo artista ma che
poi, come ricorda il Vasari, "ebbe sempre più il capo a darsi buon tempo et altre
baie et a stare in cene e feste con gl' amici che a studiare e lavorare". A Iacone fu
commissionato l' arco per San Felice e come altri chiese aiuto a Michelangelo
che gli regalò un vecchio studio. Questo sostiene Burns è testimoniato dallo
scritto appena ritrovato. E per questo dice che è il primo disegno di architettura
scampato al rogo che Michelangelo fece delle opere preparatorie "acciò nessuno
vedessi le fatiche durate da lui et i modi di tentare l' ingegno suo, per non
apparire se non perfetto". - VICENZA
http://ricerca.repubblica.it/repubblica/archivio/repubblica/2006/09/01/michelangelo-
architetto-il-primo-disegno.html
(...)
http://www.undo.net/cgi-
bin/2000/search.pl?KEYWORDS=Pino+Guidolotti&more=10&what=pressre
lease
The thrust of the show, according to curator Howard Burns of the Scuola
Normale di Pisa, is to illuminate Michelangelo's fundamentally "poetic"
sense of architecture - as underscored by the poetical musings found on
several newly discovered manuscripts. "Michelangelo writes poetry in his
architecture," Burns says. "One often comes across verses by the Master
right next to the architectural drawings, expressing the pure emotion he
felt after inventing such harmonious forms".
54
Ironically, Michelangelo fortified the city - and used huge cotton bales to
protect its great sites from cannon fire - against invading anti-papal
Swiss troops in 1527, before those same imperial troops swept down to
sack Rome. But the Vatican was angered when the same fortifications
defied a papal bid for independent Florence a few years later. However,
Michelangelo made his peace with the popes and spent the last years of
his life in Rome, working on great projects including the Sistine Chapel
for Medici pope Clement VII (1523-37). Earlier - as a sign of his up-and-
down relations with the papacy - he had been commissioned to design
arches for the grandiose Medici pope Leo X (1513-21), a son of Lorenzo
the Magnificent who excommunicated Luther.
Burns has curated the exhibit with CISA's Guido Beltrami and the
London-based Michelangelo expert Caroline Elam.
http://able2know.org/topic/85462-1
55
http://www.theflorentine.net/articles/article-view.asp?issuetocId=260
56
ANNEX 1.
AN INTERESTING COLLECTION
OF OLD MASTER DRAWINGS
FORMED BY AN EMINENT CONNOISSEUR,
by
Day of Sale
[London 1979]
page 27:
MICHELANGELO BUONARROTI
Red chalk. Inscribed in red chalk by the artist upper right: el Tucto to (braccia)
25; and along the bottom: ad . . . santo spirito.
57
Literature:
James Byam Shaw, Drawings by Old Masters at Christ Church Oxford, Oxford
1976, p. 52, under no. 64
The pen and ink study on the verso, of Saints standing on top of an Arched
Doorway has been attributed to two artist; Aristotile da Sangallo by Wilde and,
considered close to Raffaello da Montelupo by Tolnay. Wilde also pointed out
that a red chalk study of a Medici coat of arms can be discerned beneath this
drawing; in his opinion it is by Michelangelo.
James Byam Shaw, Drawings by Old Masters at Christ Church Oxford, Oxford
1976, p. 52, under no. 64
These are certainly closely related; as are some studies on one side of a sheet in
the collection of Mr. and Mrs. H. N. Squire in Suffolk.