MAT - Museo Arte Tempo Citta' di Clusone • • Visit Bergamo

MAT - Museo Arte Tempo Citta' di Clusone

Description

Historical notes MAT '“ Museum of Art and Time was founded in 2005 in the superb rooms of Marinoni-Barca Palace (17 th century) and is located in the historic centre of the town. The artworks amount to around eighty pieces and include paintings, drawings, sculptures and embossings by local and 'foreign' artists. The works come from some collections that Sant'Andrea, Querena, Trussardi Volpi and Nani families donated to Clusone Town Hall. Sant'Andrea family also donated paintings by Cifrondi, Carpinoni and Ricchi. Very rare copies of tower clock mechanisms dating back to different ages are displayed. They belong to Gorla Collection, which Bergamo Province gave to Clusone.

The contrast between creative genius and the low of time is represented by an instant on a canvas or by the stroke that marks the dance of the hours. The last collection left at the Museum comes from the Suardi legacy of the Orphanage and includes paintings from the 16 th to the 20 th century, among which Cavagna's and Palma he Young's canvas. Exhibition criteria MAT heritage originally derives from Sant'Andrea collection, which was gathered around 1920. It is composed of the legacy of Giovanni Sant'Andrea (1848-1920), the last exponent of a noble family from Clusone, and by the substantial collection of the Gallizioli family, which is a legacy by Erichetta, Giovanni's mother.

Throughout the time, the MAT heritage has grown to incorporate paintings, sculptures, prints, books and furnishings dating back to the 16 th -20 th century, mainly from Lombardy (especially Milan and Bergamo). Sant'Andrea's Collection The painting collection is largely formed by 'family portraits' as well as still natures, mythological and devotional canvases. Of interest are the unusual and charming representation of the Annunciation by a capable Lombard artist from the 17 th century, a scenographic Family of Dario presented to Alessandro by Alessandro Lanfranchi from Bergamo (1662- 1730), and works by the most prominent Clusone artists, some of whom played a major role in the Lombard and national artistic context of their time.

Furthermore, on display is the elegant Roman Piety (1645 c.) by Pietro Ricchi from Lucca , whose big altar piece featuring Madonna with the Son, Tobiolo and the Angel, Sant'Orsola and two Dimesse (mid 17 th century) is conserved in Santa Maria Assunta parish Church. MAT received by Ponte Selva Orphanage the monumental Pietà  by 46 MAT - Museo Arte Tempo Città  di Clusone - ClusoneJacopo Negretti, also known as Palma the Young. The painting, which dates back to the early 17 th century, was situated in Sacro Cuore di Ges๠Church in Ponte Selva. The two portraits of Ferrante Ambiveri and Sofonisba Martinoni Ambiveri are among the best of Bergamo painter Giovan Paolo Cavagna, whose first portraits show a severe realism.

Domenico Carpinoni - Antonio Cifrondi Domenico Carpinoni (1566-1658), eccentric exponent of the figurative atmosphere spread by the international Mannerism, created a remarkable version of the Entombment of Christ, which shows influences from the Venetian painting of the 16 th century (Tiziano, Palma il Giovane, Jacopo Bassano) and from prints by foreign artists. Antonio Cifrondi (1656-1730), renown for his vivid imagination and for being one of the fastest painters of his era, realised the impressive Portrait of a man in profile, as well as two variants of the same iconographic theme, which is the Entombment of Christ, which abounds in Jordan-esque allusions and in artistic virtuosity.

Lombard school '“ 18 th century Portrait of a Gentleman was inspired by the elegant sobriety of the Lombard painters (Legnanino, Ghislandi, Ceruti) of the 1830's. Two Portraits of noble women were initially attributed to Bortolo Nazari from Clusone, however they have recently been prudently attributed to a non-identiied artist from Bergamo who operated around 1730. The women's clothes are so detailed that through them it is possible to identify women's fashion trends in the early 18 th century in Bergamo. The intense Portrait of the Carmelitan Angelo Torriani demonstrates the artistic capability of Davide Loreti (1708-1768) from Marche region, whose rare works are well known in Rome. Lattanzio Querena Lattanzio Querena (1768-1853) played a major role in the artistic era between Neoclassicism and Romanticism. He worked between Bergamo and Venice, where he became Domenico Maggiotto's student and got in contact with Antonio Canova. In MAT, his specialization in sacred paintings and altar pieces is fully confirmed by a remarkable group of paintings consisting of the portraits of his wife Giovanna Baldissini, of his mother-in-law and his daughtersin-law as well as of a Self Portrait, which shows introspective affinity with Andrea Appiani e Pietro Benvenuti.

Still Natures The two Still Natures with musical instruments are of good quality and were probably realised by some followers of Evaristo Baschenis, who are likely to have imitated the famous masterpiece conserved in Carrara 47 MAT - Museo Arte Tempo Città  di Clusone - ClusoneAcademy in Bergamo. Clusone in the 20 th century: an artistic and cultural crossroads. In the 20 th century, Clusone was involved in the cultural events on a national scale thanks to its local artists, able to bring their products outside their native town, and to the fact that in crucial periods Clusone had become the main reference point for artists and intellectuals.

The local artist Giovanni Trussardi Volpi (1875-1921) managed to stand out in Rome. He was Antonio Masci's disciple and trustee, whose sophisticated portraits were appreciated by the demanding artistic environment of Munich, which contended with Paris for the role of art capital of Europe. MAT presents various thematic paths by Giovanni Trussardi Volpi; this way the meaning and the charm of his art can be fully appreciated. hanks to Attilio Nani (1901-1959) and his family workshop, sculpture was able to contribute to the modernization and innovation of the culture of art. Attilio Nani gained such a reputation for his embossings that from the twenties onwards his works were presented to prestigious events, including Monza Biennale, Milan Triennale, Venice Biennale, Roma Quadriennale. During World War II, Clusone and its surrounding area housed many painters, sculptors, scholars and, as such, became the crossroads for cultural exchanges and relations. Bartolomeo Calzaferri, Ezio Pastorio (1911-2006), Attilio Nani and Giacomo Manz๠(1908-1991), used to meet up in Clusone. The nearby Rovetta hosted Arturo Tosi and other illustrious personalities from Lombardy region and from elsewhere.

These are crucial years for the artistic growth of Manzà¹, who at the time lived in Clusone with his wife Tina and his son Pio, while keeping in touch with some important people in Milan and Rome. During these years Manzà¹'s production developed an intimate relationship between light, that becomes almost plastic, and art, that elegantly analyses the day-to-day feelings and human relationships. Gallery Apart from the Main Hall, a highlight of the Museum is the Gallery with its original decorations from the late 17 th century. It contains frescoes depicting the allegories of the Virtues (Honesty, Pity, Peace and Order) in contrast with the allegories of the Vices (Contention, Waste, Idle, and Fraud).

The soul of the Time From time immemorial, men have observed the sky, the stars, the rhythm of the seasons and have discovered a cycle that they learnt to use to their advantage. This means that time enabled men to turn their passive observations into forecasts, which in turn allowed them to regulate their 48 MAT - Museo Arte Tempo Città  di Clusone - Clusoneactivities. The measurement of time, considered both as time of the year (calendar) and as time of the day (clock time), became essential for men to organise their tasks. The ancient world measured time through the direction and projection of the sun, like the sundials, the low of the water or of the sand, or like in the hourglasses. The Romans introduced mechanical hydraulic water clocks, where the power came from the water low. hey were situated in the main squares of the town, so that everybody could beneit from them. When the modern mechanical clock was invented in the Middle Ages, it immediately became the time reference for the whole community. he device was initially placed on towers and belfries, his only function being that of striking.

The clock-face was added later on. Tower clock mechanisms The Province of Bergamo entrusted MAT with this important Italian collection dating between the 16 th and 20 th century. The movements have been selected with the purpose of showing different clockwork styles belonging to diferent ages as well as the various construction techniques documenting the evolution of this mechanism, from the circular-cage structure without the clock-face in Late Gothic style to the industrial production of the early 20 th century. A combination of science, calculation, technique and art contributed to the realisation of an object that was not constructed to be admired and in which local communities invested a considerable amount of money. Apart from the cost of the device itself, maintenance was extremely expensive.

A specialised worker, called 'Temperatore', was in charge of the daily windering of the weights, which guaranteed the movement of the gears. The itinerary among these amazing machines includes some public buildings of the town and the tower of the splendid Palazzo Comunale (17 th -18 th century), which is where the astonishing Planetary Clock, which is still working today and which was realised in 1583 by Pietro Fanzago, is situated. The light movements of the sun and the moon, the hours of the day together with the length of the night, the equinoxes and the solstices, the Zodiac constellation, the lunar years, the months, the hours and the minutes are all still observable on the clock. Inside the tower, the old mechanism, manually wildered on a daily basis for more than four-hundred years, constitutes a mechanical masterpiece.


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Historical notes MAT '“ Museum of Art and Time was founded in 2005 in the superb rooms of Marinoni-Barca Palace (17 th century) and is located in the historic centre of the town. The artworks amount to around eighty pieces and include paintings, drawings, sculptures and embossings by local and 'foreign' artists. The works come from some collections that Sant'Andrea, Querena, Trussardi Volpi and Nani families donated to Clusone Town Hall. Sant'Andrea family also donated paintings by Cifrondi, Carpinoni and Ricchi. Very rare copies of tower clock mechanisms dating back to different ages are displayed. They belong to Gorla Collection, which Bergamo Province gave to Clusone.

The contrast between creative genius and the low of time is represented by an instant on a canvas or by the stroke that marks the dance of the hours. The last collection left at the Museum comes from the Suardi legacy of the Orphanage and includes paintings from the 16 th to the 20 th century, among which Cavagna's and Palma he Young's canvas. Exhibition criteria MAT heritage originally derives from Sant'Andrea collection, which was gathered around 1920. It is composed of the legacy of Giovanni Sant'Andrea (1848-1920), the last exponent of a noble family from Clusone, and by the substantial collection of the Gallizioli family, which is a legacy by Erichetta, Giovanni's mother.

Throughout the time, the MAT heritage has grown to incorporate paintings, sculptures, prints, books and furnishings dating back to the 16 th -20 th century, mainly from Lombardy (especially Milan and Bergamo). Sant'Andrea's Collection The painting collection is largely formed by 'family portraits' as well as still natures, mythological and devotional canvases. Of interest are the unusual and charming representation of the Annunciation by a capable Lombard artist from the 17 th century, a scenographic Family of Dario presented to Alessandro by Alessandro Lanfranchi from Bergamo (1662- 1730), and works by the most prominent Clusone artists, some of whom played a major role in the Lombard and national artistic context of their time.

Furthermore, on display is the elegant Roman Piety (1645 c.) by Pietro Ricchi from Lucca , whose big altar piece featuring Madonna with the Son, Tobiolo and the Angel, Sant'Orsola and two Dimesse (mid 17 th century) is conserved in Santa Maria Assunta parish Church. MAT received by Ponte Selva Orphanage the monumental Pietà  by 46 MAT - Museo Arte Tempo Città  di Clusone - ClusoneJacopo Negretti, also known as Palma the Young. The painting, which dates back to the early 17 th century, was situated in Sacro Cuore di Ges๠Church in Ponte Selva. The two portraits of Ferrante Ambiveri and Sofonisba Martinoni Ambiveri are among the best of Bergamo painter Giovan Paolo Cavagna, whose first portraits show a severe realism.

Domenico Carpinoni - Antonio Cifrondi Domenico Carpinoni (1566-1658), eccentric exponent of the figurative atmosphere spread by the international Mannerism, created a remarkable version of the Entombment of Christ, which shows influences from the Venetian painting of the 16 th century (Tiziano, Palma il Giovane, Jacopo Bassano) and from prints by foreign artists. Antonio Cifrondi (1656-1730), renown for his vivid imagination and for being one of the fastest painters of his era, realised the impressive Portrait of a man in profile, as well as two variants of the same iconographic theme, which is the Entombment of Christ, which abounds in Jordan-esque allusions and in artistic virtuosity.

Lombard school '“ 18 th century Portrait of a Gentleman was inspired by the elegant sobriety of the Lombard painters (Legnanino, Ghislandi, Ceruti) of the 1830's. Two Portraits of noble women were initially attributed to Bortolo Nazari from Clusone, however they have recently been prudently attributed to a non-identiied artist from Bergamo who operated around 1730. The women's clothes are so detailed that through them it is possible to identify women's fashion trends in the early 18 th century in Bergamo. The intense Portrait of the Carmelitan Angelo Torriani demonstrates the artistic capability of Davide Loreti (1708-1768) from Marche region, whose rare works are well known in Rome. Lattanzio Querena Lattanzio Querena (1768-1853) played a major role in the artistic era between Neoclassicism and Romanticism. He worked between Bergamo and Venice, where he became Domenico Maggiotto's student and got in contact with Antonio Canova. In MAT, his specialization in sacred paintings and altar pieces is fully confirmed by a remarkable group of paintings consisting of the portraits of his wife Giovanna Baldissini, of his mother-in-law and his daughtersin-law as well as of a Self Portrait, which shows introspective affinity with Andrea Appiani e Pietro Benvenuti.

Still Natures The two Still Natures with musical instruments are of good quality and were probably realised by some followers of Evaristo Baschenis, who are likely to have imitated the famous masterpiece conserved in Carrara 47 MAT - Museo Arte Tempo Città  di Clusone - ClusoneAcademy in Bergamo. Clusone in the 20 th century: an artistic and cultural crossroads. In the 20 th century, Clusone was involved in the cultural events on a national scale thanks to its local artists, able to bring their products outside their native town, and to the fact that in crucial periods Clusone had become the main reference point for artists and intellectuals.

The local artist Giovanni Trussardi Volpi (1875-1921) managed to stand out in Rome. He was Antonio Masci's disciple and trustee, whose sophisticated portraits were appreciated by the demanding artistic environment of Munich, which contended with Paris for the role of art capital of Europe. MAT presents various thematic paths by Giovanni Trussardi Volpi; this way the meaning and the charm of his art can be fully appreciated. hanks to Attilio Nani (1901-1959) and his family workshop, sculpture was able to contribute to the modernization and innovation of the culture of art. Attilio Nani gained such a reputation for his embossings that from the twenties onwards his works were presented to prestigious events, including Monza Biennale, Milan Triennale, Venice Biennale, Roma Quadriennale. During World War II, Clusone and its surrounding area housed many painters, sculptors, scholars and, as such, became the crossroads for cultural exchanges and relations. Bartolomeo Calzaferri, Ezio Pastorio (1911-2006), Attilio Nani and Giacomo Manz๠(1908-1991), used to meet up in Clusone. The nearby Rovetta hosted Arturo Tosi and other illustrious personalities from Lombardy region and from elsewhere.

These are crucial years for the artistic growth of Manzà¹, who at the time lived in Clusone with his wife Tina and his son Pio, while keeping in touch with some important people in Milan and Rome. During these years Manzà¹'s production developed an intimate relationship between light, that becomes almost plastic, and art, that elegantly analyses the day-to-day feelings and human relationships. Gallery Apart from the Main Hall, a highlight of the Museum is the Gallery with its original decorations from the late 17 th century. It contains frescoes depicting the allegories of the Virtues (Honesty, Pity, Peace and Order) in contrast with the allegories of the Vices (Contention, Waste, Idle, and Fraud).

The soul of the Time From time immemorial, men have observed the sky, the stars, the rhythm of the seasons and have discovered a cycle that they learnt to use to their advantage. This means that time enabled men to turn their passive observations into forecasts, which in turn allowed them to regulate their 48 MAT - Museo Arte Tempo Città  di Clusone - Clusoneactivities. The measurement of time, considered both as time of the year (calendar) and as time of the day (clock time), became essential for men to organise their tasks. The ancient world measured time through the direction and projection of the sun, like the sundials, the low of the water or of the sand, or like in the hourglasses. The Romans introduced mechanical hydraulic water clocks, where the power came from the water low. hey were situated in the main squares of the town, so that everybody could beneit from them. When the modern mechanical clock was invented in the Middle Ages, it immediately became the time reference for the whole community. he device was initially placed on towers and belfries, his only function being that of striking.

The clock-face was added later on. Tower clock mechanisms The Province of Bergamo entrusted MAT with this important Italian collection dating between the 16 th and 20 th century. The movements have been selected with the purpose of showing different clockwork styles belonging to diferent ages as well as the various construction techniques documenting the evolution of this mechanism, from the circular-cage structure without the clock-face in Late Gothic style to the industrial production of the early 20 th century. A combination of science, calculation, technique and art contributed to the realisation of an object that was not constructed to be admired and in which local communities invested a considerable amount of money. Apart from the cost of the device itself, maintenance was extremely expensive.

A specialised worker, called 'Temperatore', was in charge of the daily windering of the weights, which guaranteed the movement of the gears. The itinerary among these amazing machines includes some public buildings of the town and the tower of the splendid Palazzo Comunale (17 th -18 th century), which is where the astonishing Planetary Clock, which is still working today and which was realised in 1583 by Pietro Fanzago, is situated. The light movements of the sun and the moon, the hours of the day together with the length of the night, the equinoxes and the solstices, the Zodiac constellation, the lunar years, the months, the hours and the minutes are all still observable on the clock. Inside the tower, the old mechanism, manually wildered on a daily basis for more than four-hundred years, constitutes a mechanical masterpiece.