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2019-09-15

Tags: バルベリーニ宮殿 国立 古典 絵画館 Lazio Roma

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auto-translate BER ル リ ー ニ 宮殿 国立 絵 BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER. recurrent in all the monuments the sculptures flown by Pope Urban VIII to embellish the face of the neighborhood (Fontana del Tritone and the Api in Piazza Barberini and the Rona Barocca. In the sixteenth century Ulisse Aldovrandi described the already existing villa but still owned by Cardinal Rodolfo Po from Carpi as a place of delicatessen to the enjoyment of nature the cultured pleasure of the rich collection of classical sculptures was associated. "Falling then in 1581 to Cardinal Alessandro Sforza of S. Fiora, it began to be enriched with decorations to his intent that even today they are visible in the museum (Xin pabro hall of de Barberini, in which construction can be said to have ended in the fourth decade with the realization of the sumptuous ceiling by Pictro da Cortona in the Salone of the noble floor described by the Tuscan pod Br Foliolini, after the election of Pope Urban VIII, as a "Royal Palace of the Sun", taken from Ovid for the profusion of niches and lights behind which it was hidden the evident symbolic salarione of the Divine Wisdom of the Providence descent on the princely Gens Barberina. The very rich collection of pitate pole models of the suburban villa and stately home together identifies with the history of the owners nshe Rona of the seventeenth century but also indiwaluhin it tied to the state of the nation to build a national call-office at the end of ocento, when it became the seat of the National Gallery of Ancient Art (1892). The mo differs from the other Historical collections of the city of Rome with the Ligurian, Spada, the Corsini ola Doria Pamphili characterized by the bond of fidecommesso as such unitary and linked to the architecture that contains the diversity of origins, the eloquence of the collection flourished open to the public in 1953: the original nucleus belonging to the Barberini family constitutes only a small part of the collection, while the largest group of paintings comes from the history of the Corsini family&39;s fidecommissa collection, in which porogies previously merged with other paintings of various belonging (Torlonia , Monte di Pich (1891)) with acquisitions of the State (Odescalchi. Horta and Chipi (1918) Dieranicnic conceived already for the mona of the vault and currently in reorganization, soon to respond to the modem criteria of mucalization of the European mold Despite the forties following the Royal Decree Law of 1911. it was deprived of masterpieces such as the S Caterina di Caravaggio (now in the Tyssen collection. In today&39;s collection otire or broad parameters of Italian and foreign pictorial evolution relative to the 16th century XII-XVIII with over 1440 pictorial documents linked to the Moria of Rome and the Church as well as to thethe vicissitudes of the family, enriched by 2067 objects of art Caravaggio (1571-16101, Gadwache tale and Olofern. 159.99, oil on decorative canvas and the rare furniture that was furnished by Carlo Costana Barberini (1750-70). The medievalec documented painting from rani Crucis ligncio da tempore su nola (Crocefisodi Simone Machilam XIII. indehocoladi Roman school of the XII century. from the church of S. Maria in Campo Marzio) while for the following century by itself of the runs ctiesca Stories of Christ by Giovanni da Rimini 1305) Sienese (Malo con il Bambino of the so-called Master of Palazzo Venezia, a sign of S. Martini. Post 1333) Masterpieces by artists of different languages, mainly from Italy, document the stylistic and formal resolutions adopted in the face of the spatial revolution of the fifteenth century, like that of E. Lippi, influenced by the Flemish world (M or Cow Bambino of Cometo Tarquinia, fed. 1437) or the more classic of Antonio Romano, respectful of tradition (Nativitat com a L a M i rano troisow Paolo Franco, fed 1487), finally, that dictated by the principles of harmony and balance by Perugino (S. Nicolo da Tolentino, 1507) Throughout the sixteenth century it is worthily represented by many masterpieces made in central Italy by Raphael (the Fornarina, dated 1520), by Giulio Romano, by Andrea del Sarto by Boccalumni, by Sodoma, by Bronzino, which alternate with paintings by artists active mainly in the North, such as Tintoretto or Titian or in operand of famous foreigners (Metsys. Remaining of Er ch Roerw. 1517. H. Holbein, Henry VIII. 1540 FI Greek, don de pastoric Ballism of Christ, 1596). A particularly significant group of works illustrates the evolution of Baroque painting, including iconographic innovations born of the genres of del papeio, here well documented to compare to the thematic nuclei of Corsini and Spada) and exchanges between classicism (A. Carracci. G. Reni , G.Lanfranco Domenichino Cucino, N Poussin, A Sacchi) ccaravaggismo (C. Saraceni, O.Gentileschi, O. Borgianni, Candlelight Master T Bigot, V. de Boulogne), this phenomenon, complex in content, had picentro especially in Rome in the early decades of the seventeenth century, after the hook of Caravaggio (1595) (Gin and ko 1597.1600, Mario 1597.99) and was relocated to the patrons of the time. The sanalisi can be deepened by also visiting the Galleri Borghese, Corsini and Spada. Oui alla Barberini reconstructs for the seventeenth century a stage of outstanding personalities, Italians and foreigners, belonging to the same cultural climate in which the palace is built, which sees emerging artists such as Bensini, Borromini, Pietro da Cortona ctc ..., engaged to the architecture of the palace and its interior decorations (ceiling of the living room of Pietro da Cortona with the Trio of the Divine Provid. 1633-39, and of the Room VII with the Trio of the Divine SUDIRE created by Andrea Sacchi, 1629). Important section of the eighteenth century works, with an interesting prewithout the paintings of the French school from the collection of the Duke of Cervinara In full development the complex restoration intervention of the building aimed at the recovery of the original features of its themes spaces and at the realization of an encompassing avant-garde muscular structure, equipped with all services cultural (library, video library, cultural and hospitality services, educational workshop, conference room) X F. Lippi (140614469 .col Bahia, date 1437. tempera sa ba cativa table Galeria Borchese and Musti Special Superintendence for Roman Muscal Aiswas in the side of the Barberini of the origin of the board the lesson of the won the count in th is cascos by Pop Unhas Ramblash the neighborhood (The Trisomie Drink Fowie Burg er har Rowwe. 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auto-translate BERルリーニ宫殿国立絵BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER BER。在所有的纪念碑中经常出现教皇城市八号的雕塑,以修饰附近的面貌(Fontana del Tritone和巴贝里尼广场和Rona Barocca的Api。在十六世纪,Ulisse Aldovrandi描述了现有的别墅,但仍由红衣主教Rodolfo Po拥有从Carpi作为熟食店到大自然的享受,丰富的古典雕塑收藏的文化乐趣与之相关。“于1581年落入S. Fiora的红衣主教Alessandro Sforza,它开始充满装饰,他的意图即使在今天它们在博物馆中可见(de Barberini的新帕布罗大厅,其建筑可以说在第四个十年结束了在教皇城市八号选举之后,由托斯卡纳小屋Br Foliolini描述的高贵地板的Salone中实现了奢华的天花板,作为“太阳皇宫”,从Ovid取得了大量的壁龛和灯光背后隐藏在王子Gens Barberina上的普罗维登斯神圣智慧的明显象征性的salarione。郊区别墅和豪宅的丰富的pitate杆模型集合在一起,确定了业主的历史她是十七世纪的罗纳,但也与印度国家建立一个全国性的呼叫办公室联系在一起,当时它成为国家古代艺术画廊(1892年)的所在地。莫与罗马城的其他历史收藏不同,有利古里亚,斯巴达,科西尼奥拉多利亚潘菲利,其特点是fidecommesso与这样的单一联系,并与包含多样性起源的建筑相关联,收藏的雄辩蓬勃发展1953年向公众开放:属于Barberini家族的原始核心只占该系列的一小部分,而最大的一组绘画来自Corsini家族的fidecommissa系列的历史,其中porogies之前与其他各种属性的画作合并(Torlonia) ,Monte di Pich(1891))收购了国家(Odescalchi。Horta和Chipi(1918)Dieranicnic已经为金库的mona构想,目前正在进行重组,很快就会回应欧洲模具的现代化标准尽管四十年代遵循1911年的皇家法令,它被剥夺了诸如S之类的杰作Caterina di Caravaggio(现在在Tyssen收藏。在今天的收集otire或广泛参数的意大利和外国图片演变相对于16世纪XII-XVIII有超过1440个图画文件,与罗马和教会的Moria以及与之相关2067年艺术品Caravaggio(1571-16101,Gadwache故事和Olofern。159.99,装饰画布上的油和Carlo Costana Barberini(1750-70)提供的稀有家具)丰富了家庭的变迁.Medievalec记录了绘画来自rani Crucis ligncio da tempore su nola(Crocefisodi Simone Machilam XIII。十二世纪的罗马学校。来自Campo Marzio的S. Maria教堂),而接下来的一个世纪本身就是由Giovanni da Rimini创作的ctiesca基督故事1305)Sienese(所谓的威尼斯宫殿的Malo con il Bambino,S. Martini的标志。后1333年)主要来自意大利的不同语言艺术家的杰作记录了面对空间革命时采用的风格和正式决议十五世纪,就像E. Lippi一样,受佛兰德世界的影响(M或Cow Bambino of Cometo Tarquinia,fed.1437)或更经典的Antonio Romano,尊重传统(Nativitat)最后,由佩鲁吉诺(S. Perugino)的和谐与平衡原则决定了最后一个人,Paolo Franco,1487年。 Nicolo da Tolentino,1507)在整个十六世纪,拉斐尔(Fornarina,1520年)在意大利中部制作的许多杰作,由Giulio Romano,由Boccalumni的Andrea del Sarto,Sodoma,Bronzino,与主要在北方活动的艺术家的绘画,如丁托列托或提香或oper和着名的外国人(Metsys。剩下的Er ch Roerw。1517. H. Holbein,Henry VIII.1540 FI Greek,don de pastoric Ballism of Christ,1596)。一组特别重要的作品展示了巴洛克绘画的演变,包括由del papeio类型所产生的图像创新,这里有很好的记录,可以与Corsini和Spada的主题核心进行比较)和古典主义之间的交流(A. Carracci.G。Reni ,G.Lanfranco Domenichino Cucino,N Poussin,A Sacchi)ccaravaggismo(C. Saraceni,O.Gentileschi,O。Borgianni,烛光大师T Bigot,V。de Boulogne),这种现象,内容复杂,特别是在罗马的picentro在十七世纪的早期,卡拉瓦乔(1595年)(杜松子酒和1597.1600,马里奥1597.99)的钩子后,被搬迁到当时的顾客。通过参观Galleri Borghese,Corsini和Spada,可以加深sanalisi。 Oui alla Barberini为十七世纪重建了一个杰出人物,意大利人和外国人的舞台,属于宫殿建造的同一文化氛围,看到了Bensini,Borromini,Pietro da Cortona ctc等新兴艺术家。宫殿的建筑及其室内装饰(Pietro da Cortona客厅的天花板与神圣的三重奏.1633-39,以及由Andrea Sacchi创建的Divine SUDIRE三重奏室的IV室,1629年)。十八世纪的重要部分作品,有趣的前期没有Cervinara公爵收藏的法国学校的画作在全面发展中,建筑的复杂修复干预旨在恢复其主题空间的原始特征,并实现包含前卫的肌肉结构,配备所有服务文化(图书馆,视频图书馆,文化和酒店服务,教育工作室,会议室)X F. Lippi(140614469 .col Bahia,日期1437. tempera sa ba cativa table Galeria Borchese and Musti Special Superintendence for Roman Muscal Aiswas在董事会成员Barberini的一侧,赢得了伯爵的教训是由邻居Pop The Unhas Ramblash的Cascos(The Trisomie Drink Fowie Burg er har Rowwe。在Ceny:Closed describe auch ein villa berther sail属于Cardinal Radio Pro,来自Corporale of the lights of the gw the rich hill chal s es to to woment of aded of overded / 8 / Cardinal Alessandro Sara os Flora ir储存在r中,当conillswire我们将ll。这个可以被认为是终止于www.ci Piero Coron的广泛负离子的巴勒斯蒂堡的教诲由教皇Unham Wara Sur Palace的Tusco por Bruxel ler W lection描述Pronidan的D广告的主要内容,如同在原版Barber Gere一样,在oror Roseb中,OWN的儿子将来自orsc doresc sie的丰富收藏品如果我是国家古代艺术画廊(1892年),那么eris也会对草地上的滑板创作画廊calcachowe做我的www。与Rom ase Bow Snake Corsi或Doria Pow.churrab bowdofloryada ardoa di ar ea的其他历史悠久的colchi相比,该剧集合中的Theroins hus Anthem来自Bain的1933 e原始案例将来到其他墙壁部分大多数CU痛苦的集合来自Corsini ile的历史收藏品leffi ley,在Torloni fowwe di Piet(/ 8971)之前有一个红色的红色,有Odescalch,Nec和Chig / 9的请求/ 87。收集prochain记录的不同的comxhwa r wours将很快在森林中找到End Naisten War Compure的泥浆,遵循1934年的线。在rilor pe care carros Catherine医生在listen.collection中提供的一个最广泛的国家赢得terlotio到XWXWW ies没有汉1440画报,这是罗马教堂的赌注,除了Romih野生的2067 olycs装饰的分数和那里做的母牛科斯塔Barberini(/ 750.70中世纪绘画仅仅是关于Sie和Mochilome的评论家,中间XN模型的Ron Schothornhurting来自教堂Maria Campo Marzio我们的场景w werke Goo d Stories of Christ Glow Riw,7305)卡学校Sira Morth是所谓的M olecular na Mw.post/333的孩子。 M icrosof vious o所有de正式的Monteneurst的ries和the fittew ey的空间信息的信息,例如由世界各地的小孩和N37的世界上的Lil o或者我们更多的colo co Roc h ow(与San Lawwe和Saw Andrew Madonna on the benew al和Francis of Asseld / 487)o填写了关于Perigi(S Nicole New 7307)的网站www。的网站www。由www预先制作的屏幕内容包括lah by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by by Rallow表格d。 Giulio Romano和Andrew由Brod的Sex by Beccafiomi排序,他让我成为Norwinowo或Tinator为Kan工作的艺术家。 Mes Parra Eres of Rock 1517.H i Hewy W / 540,El Greco,捐赠或de pikan Baw of C 15 of particolarh w ork Westeswetion of repair hercovichwar他将与我们的汽车和圣诞老人收集编辑Carracci GRG Letra Downlvo CVPA Schwalbe“Cac San Cresc.Borge Carlig Master T Board Bondge。这篇文章的主要内容是关于Romein的第一个十年

バルベリーニ宮殿国立古典絵画館

PALAZZO BARBERINI
Capolavori della Galleria Nazionale d'Arte Antica
O uesto ha de l'antica residenza della famiglia Barberini, toscana di origine, il cui simbolo dell'apec quello meno noto del sole e del
costituiscono i sigilli ricorrenti in tutti i monumenti le sculture volati dal papa Urbano VIII per abbellire il volto del quartiere (Fontana del Tritone e delle Api
in piazza Barberini e della Rona barocca. Nel Cinquecento Ulisse Aldovrandi descriveva la villa già esistente ma ancora di proprietà del cardinal Rodolfo Po
da Carpi come un luogo di delicic done al godimento della natura si associava il piacere colto della ricca collezione di sculture classiche". Caduta poi nel 1581
al cardinale Alessandro Sforza di S. Fiora, cominciava ad essere arricchita di decorazioni al suo intento che ancor oggi sono visibili nel museo (sala Xin
pabro di rappresentava de Barberini, in cui costruzione può dirsi conclusa nel IV decennio con la realizzazione del sontuoso soffitto di Pictro da Cortona nel
Salone del piano nobile descritto dal podla toscano F Bracciolini, dopo l'elezione del papa Urbano VIII, come una "Reggia del Sole", ripresa di Ovidio per la
profusione di nicchezze e di luci dietro cui si celava l'evidente simbolica salarione della Divina Sapienza della Provvidenza discesa sulla principesca Gens
Barberina. La ricchissima collezione pitate polo modello di villa suburbana e
dimora signorile insieme, s'identifica con la storia dei proprietari nella Rona del
Seicento ma anche indiwaluhin ne legata all'esia da parte dello Stato di
realizzare una calleria nazionale via alla fine dell ocento, quando diventa sede della
Galleria Nazionale d'Arte Antica (1892). Il m o si discosta dalle altre collezioni
Storiche della città di Roma con la lleghese, Spada, la Corsini ola Doria Pamphili
caratterizzate dal vincolo del fidecommesso come tali unitarie e legato
all'architettura che le contiene la diversità delle provenienze ha fiorito
l'elcroconeità della raccolta aperta al pubblico nel 1953: il nucleo
originario poenite dalla famiglia Barberini costituisce solo una
piccola parte della collezione mentre il gruppo più consistente dei
dipinti proviene dalla storia collezione fidecommissa della famiglia
Corsini, in cui porogi in precedenza crano confluiti altri dipinti di
varia appartenenza (Torlonia, Monte di Pich (1891)) con acquisizioni
dello Stato (Odescalchi. Horta e Chipi (1918) Dieranicnic
concepito gia per la mona della sua volta e atualmente in riordino,
rispondere ben presto ai criteri modemi di mucalizzazione di
stampo curopeo Nonostante negli anni Quaranta a seguito del Regio
Decreto Legge del 1911. stata privata di capolavori come la S
Caterina di Caravaggio (oggi in collezione Tyssen. In collezione
oggi otire o dei parami p ampi dell'evoluzione pittorica
italiana e stranicra relativa ai secc. XII-XVIII con oltre 1440
documenti pittorici che si legano alla Moria di Roma e della Chiesa
oltre che alle vicende della famiglia, arricchita da 2067 oggetti d'arte
Caravaggio (1571-16101, Gadwache tale e a Olofern. 159.99, olio su tela
decorativa e dal rare mobilio che arreda
t o di Carlo
Costana Barberini (1750-70). La pittura medievalec documentata
da rani Crucis ligncio da tempore su nola (Crocefisodi Simone
Machilam XIII. indehocoladi Scuola romana del sec. XII. proveniente dalla chiesa di S. Maria in Campo Marzio) mentre per il secolo successivo da se della corre ctiesca
Storie di Cristo di Giovanni da Rimini 1305 ) senese (Malo con il Bambino del cosiddetto Maestro di Palazzo Venezia, un segunce di S. Martini. post 1333) Capolavori di artisti di diversa
Do ina, d'ambito italiano soprattutto documentano la risoluzioni stilistiche e formali assunte di fronte alla rivoluzione spaziale del Quattrocento, come quella di E. Lippi, influentata dal mondo
fiammingo (
M o cow Bambino di Cometo Tarquinia,fed. 1437) o quella più classica di Antonio Romano, rispettosa della tradizione (Nativitat com a L a
M
i rano
troisow Paolo Franco , fed 1487), infine, quella dettata dai principi di armonia e equilibrio di Perugino (S. Nicolo da Tolentino, 1507) Tutto il Cinquecento e degnamente rappresentato
da molti capolavori realizzati in Italia centrale da Raffaello (la Fornarina, databile 1520), da Giulio Romano, da Andrea del Sarto da Boccalumni, da Sodoma, da Bronzino, che si avvicendano a dipinti di
artisti attivi soprattutto al Settentrione come Tintoretto o Tiziano oa opere di stranieri famosi ( Metsys. Rimanto di Er c h Roerw. 1517. H. Holbein, Enrico VIII. 1540 FI Greco, don d e
pastoric Ballesimo di Cristo, 1596). Un gruppo di opere particolarmente significativo illustra l'evoluzione della pittura barocca, tra innovazioni iconografiche nascita dei generi della
del
papeio, qui ben documentatio da confrontare ai nuclei tematici della Corsini e della Spada) e scambi tra classicismo (A. Carracci. G. Reni, G.Lanfranco Domenichino Cucino, N Poussin, A Sacchi)
ccaravaggismo (C. Saraceni, O.Gentileschi, O. Borgianni, Candlelight Master T Bigot, V. de Boulogne),
Questo fenomeno, complesso nei contenuti, ebbe picentro soprattutto a Roma nei primi decenni del Seicento, dopo l'amo di Caravaggio (1595) (Gin e ko 1597.1600, Mario 1597.99)
e si ricollsea ai committenti dell'epoca. La sanalisi potrà essere approfondita visitando anche le Galleri Borghese, Corsini e Spada. Oui alla Barberini si ricostruisce per il Seicento un palcoscenico di
personalita insigni, italiani e stranieri, appartenenti a quello stesso clima culturale in cui viene realizzato il palazzo, che vede gli artisti emergenti come Bensini, Borromini, Pietro da Cortona ctc..., impegnati
alle architetture del palazzo e alle sue decorazioni interne (soffitto del salone di Pietro da Cortona con il Trio della Divina Provid . 1633-39, e della Sala VII con il Trio della Divina SUDIRE
ccuito da Andrea Sacchi, 1629). Importante la sezione delle opere del Settecento, con un'interessante presenza di dipinti di scuola francese della collezione del duca di Cervinara In pieno svolgimentos
il complesso intervento di restauro del palazzo teso al recupero della fisionoi originana dei suoi spazi temi e alla realizzazione di un'clliciente struttura muscale d'avanguardia, dotata di tutti i servizi
culturali (biblioteca, videoteca, servizi culturali e d'accoglienza, laboratorio didattico, sala conferenze)
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