Conservation Project - The Bartolomeo Colleoni Monument, Italy
After centuries of exposure to the elements and airborne pollution, one of Italy's most celebrated Renaissance sculptures has recently been restored by World Monuments Fund. Located in the square beside Venice's Basilica di San Giovanni e Paolo, the monumental equestrian statue of Bartolomeo Colleoni underwent a comprehensive three-year cleaning and restoration.
Learn more:
Italy, Venice, Must See: Condottiero Colleoni by Verrocchio
Focus on : Condottiero Colleoni (Monumento Equestre a Bartolomeo Colleoni)
The Monument of Bartolomeo Colleoni, he was a famous captain of the republic of venice otherwise called “condottiero: “.
Verrocchio designed the sculpture in the 15th century. The horse and cavelleri offer a strong contrapposto turning on them self. We can feel the force and power of the man: brutal energy,, shoulder forward, clenched jaw, staring eyes, offering a true domineering posture.
Google Map:
Also on :
Facebook :
Twitter :
Instagram:
Make sure you subscribe! Thank you
HUGE THANKS to the Music by AMAZING…
Atolla
Thank you to :
Ben Brown for the creativity
Casey Neistat for the inspiration
Louis Cole for the positive energy
Music needed :
If you are a music producer and would like me to use your music please email me at pascal@penceo.com
All filmed on a Canon 70D
San Zanipolo – Equestrian Statue Of Colleoni – Venice – Audio Guide – MyWoWo Travel App
Venice's most important Renaissance monument sits in a very prominent position on a high pedestal to the right of the church's façade: I'm talking about the bronze statue of the leader Bartolomeo Colleoni on horseback. The statue was designed in the late 1400s by the great Florentine sculptor Verrocchio, but it took 14 years before it was made and finally installed here in San Zanipolo's square. Interestingly, one of the sculptor's aides who had seen to the pedestal and the technical aspects of fusing the statue to it tried to take credit for the entire work.
You should know that the idea of a bronze equestrian statue dated back to the times of the Roman emperors, but only returned to fashion in the second half of the fifteenth century: just a few decades before the creation of this masterpiece, Donatello had managed to create the statue of the leader Gattamelata in Padua. And while Verrocchio was working on Colleoni, in Milan Leonardo was also planning the equestrian statue of Francesco Sforza, although he didn't succeed…
Visit the MyWoWo page dedicated to this wonder:
…and download the MyWoWo Travel App so you can listen to audio guides describing the world's most beautiful cities and all the wonders they have to offer.
Google Play (Android):
iTune (Apple):
MyWoWo is available in 7 languages!
BARTOLOMEO COLLEONI - ITALY, VENICE
DOWNLOAD THE APP:
BARTOLOMEO COLLEONI - ITALY, VENICE
Address: 30100 Venice, Metropolitan City of Venice, Italy
Copyright © Wikipedia
Music by:
Local Traveller
By Willo’s Worlds
Also on :
Site :
Facebook :
Twitter :
Instagram:
Make sure you subscribe! Thank you!!
Anonymous - Pavana Del Re (with Verrocchio's Bartolomeo Colleoni)
From the album Musica Nova by Jordi Savall and Hespèrion XXI (2018).
Perhaps it all goes back to one dark winter’s night of the incipient and hope-filled year of 1400, at the dawn of a century that had just begun. A century which was soon to unravel the marvellous stories and odysseys of a newly rediscovered millennial civilization, an ancient era when philosophers taught wisdom and humanity, when the music of Orpheus could tame even the most savage of beasts. In the midst of so many novelties and marvels, it is no wonder that minstrels aspired to a new, more expressive and richer sound, to create a musica nova, or a new music, that came from a single instrument combining the love song of the old vihuela de arco or bowed fiddle, the rebab or troubadour’s rebec, and the sweet sounds of the Moorish lute, with its potential for beautiful harmonies and joyful rhythms, which gave way to the vihuela de mano in the wake of the successive expulsions of the Jews in 1492 and the Moriscos in 1609... “this is an immensely enjoyable listen, its music both ravishing and substantial in the hands of these experienced performers. Savall makes no attempt to hide that they have recorded most of its music before, instead identifying the project as an excuse to celebrate over 50 years of working with it. Thus the best way to consume it is to sit back, treat it as the concert it once was and revel in the sound of viols, lute and percussion played with beauty and wisdom, and in perfect balance.” - Lindsay Kemp – Gramophone, November 2018
Visual background: images of the equestrian statue of Bartolomeo Colleoni (1400-1475) by Andrea del Verrocchio (1435-1488). It is situated in Campo Santi Giovanni e Paolo, Venice, Italy, executed by Andrea del Verrocchio in 1480–88. Portraying the condottiero Bartolomeo Colleoni (who served for a long time under the Republic of Venice), it has a height of 395 cm excluding the pedestal. It is the second major equestrian statue of the Italian Renaissance, after Donatello's equestrian statue of Gattamelata (1453).
Although Colleoni often changed sides, no act of treachery is imputed to him, nor did he subject the territories he passed through to the rapine and robbery practised by other soldiers of fortune. When not fighting, he devoted his time to introducing agricultural improvements on the vast estates which the Venetians had granted him, and to charitable works. At his death in 1475, at Malpaga, he left a large sum to the republic for the Turkish war, with a request that an equestrian statue of himself should be erected in the Piazza San Marco. The statue was modelled by Andrea del Verrocchio and cast in bronze after his death by Alessandro Leopardi, but, as no monument was permitted in the piazza, it was placed near the Scuola Grande of St Mark outside the Church of SS Giovanni e Paolo.
Venezia in un Minuto S01/17 - Il monumento equestre dedicato a Bartolomeo Colleoni
Bartolomeo Colleoni
If you find our videos helpful you can support us by buying something from amazon.
Bartolomeo Colleoni
=======Image-Copyright-Info========
License: Creative Commons Attribution-Share Alike 3.0 (CC BY-SA 3.0)
LicenseLink:
Author-Info: Jörg Bittner Unna
Image Source:
=======Image-Copyright-Info========
☆Video is targeted to blind users
Attribution:
Article text available under CC-BY-SA
image source in video
Donatello, Equestrian Monument of Gattamelata
Donatello, Equestrian Monument of Gattamelata (Erasmo da Narni), 1445-53, bronze, 12 feet, 2 inches high, Piazza del Santo, Padua Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
BARTOLOMEO COLLEONI
Kopia pomnika Bartolomeo Colleoniego w Szczecinie na pl. Lotników
Bartolomeo Colleoni
Destroyer type Soldati
MS74 serie 2А torpedo boat
Italian Navy realistic Gameplay
San Zanipolo – Monumento Equestre A Colleoni – Venezia – Audioguida – MyWoWo Travel App
In una posizione di grande risalto, su un alto basamento a destra della facciata della chiesa, puoi vedere davanti a te il più importante monumento rinascimentale di Venezia: la statua in bronzo del condottiero Bartolomeo Colleoni a cavallo. La statua fu ideata verso la fine del ’400 dal grande scultore fiorentino Verrocchio, ma ci vollero ben 14 anni prima che fosse realizzata e finalmente installata qui in campo San Zanipolo. Un aiutante dello scultore, che si era occupato del basamento e degli aspetti tecnici della fusione, cercò di attribuirsi il merito dell’intera opera.
Devi sapere che l’idea di una statua equestre in bronzo risaliva alla memoria degli imperatori romani, ma ritornò di moda nella seconda metà del Quattrocento: solo pochi decenni prima della realizzazione di questo capolavoro, Donatello era riuscito a fondere la statua del condottiero Gattamelata a Padova. E mentre Verrocchio si dedicava al Colleoni, anche Leonardo stava progettando, a Milano, la statua equestre di Francesco Sforza, senza però riuscire nell’impresa...
Visita la pagina di MyWoWo dedicata a questa meraviglia:
...e scarica gratis la Travel App di MyWoWo, potrai ascoltare audioguide che descrivono le più bella città del mondo e scoprirne le meraviglie.
Google Play (Android):
iTune (Apple):
MyWoWo è disponibile in 7 lingue!
Equestrian statue
Next to Kiasma stands the proud figure of a rider on a noble mount.
Places to see in ( Venice - Italy ) Basilica dei Santi Giovanni e Paolo
Places to see in ( Venice - Italy ) Basilica dei Santi Giovanni e Paolo
The Basilica di San Giovanni e Paolo, known in Venetian as San Zanipolo, is a church in the Castello sestiere of Venice, Italy. One of the largest churches in the city, it has the status of a minor basilica. After the 15th century the funeral services of all of Venice's doges were held here, and twenty-five doges are buried in the church.
The huge brick edifice was designed in the Italian Gothic style, and completed in the 1430s. It is the principal Dominican church of Venice, and as such was built to hold large congregations. It is dedicated to John and Paul, not the Biblical Apostles of the same names, but two obscure martyrs of the Early Christian church in Rome, whose names were recorded in the 4th century but whose legend is of a later date.
In 1246, Doge Jacopo Tiepolo donated some swampland to the Dominicans after dreaming of a flock of white doves flying over it. The first church was demolished in 1333, when the current church was begun. It was not completed until 1430.
The vast interior contains many funerary monuments and paintings, as well as the Madonna della Pace, a miraculous Byzantine statue situated in its own chapel in the south aisle, and a foot of Saint Catherine of Siena, the church's chief relic.
San Giovanni e Paolo is a parish church of the Vicariate of San Marco-Castello. Other churches of the parish are San Lazzaro dei Mendicanti, the Ospedaletto and the Beata Vergine Addolorata. The Renaissance Equestrian Statue of Bartolomeo Colleoni (1483), by Andrea del Verrocchio, is located next to the church.
( Venice - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Venice . Through a series of videos we will try to show you recommended places to visit in Venice - Italy
Join us for more :
Solza (Bg) Il castello di Bartolomeo Colleoni
Solza e il suo castello.Si ringrazia la PromoIsola per il filmato.
Bergamo: scoperta la tomba del Colleoni.
La settimana Incom 00395 del 26/01/1950
Bergamo: scoperta la tomba del Colleoni.
Descrizione sequenze:Santa Maria Maggiore a Bergamo ; cappella del Colleoni con particolare della tomba del condottiero ; rabdomante con un estesiometro esplora il sottosuolo ; operaio piccona il pavimento della cappella ; tomba del condottiero e della figlia Medea ; tecnico ricompone i resti del condottiero ; monsignor Locatelli con un ritratto del condottiero accanto allo scheletro del Colleoni ; persona anziana osserva fotografia della testa del Colleoni scolpita dal Verrocchio ;
Archivio Storico Luce .
Istituto Luce Cinecittà: tutte le immagini e i fotogrammi più belli di come eravamo, rivissuti attraverso i film, i documentari e i video che hanno fatto la storia del nostro Paese.
Seguici anche su:
Facebook -
Twitter -
Sito Ufficiale -
Shop Online -
Archivio Storico -
CASTELLO DI MALPAGA
Il castello di Malpaga si trova nel territorio di Cavernago, piccolo comune alle porte di Bergamo.Bartolomeo Colleoni acquistò nel 1456, dal Comune di Bergamo, il castello diroccato di Malpaga con l'intenzione di farne la propria residenza ed il centro del suo dominio.
Ristrutturò e trasformò il castello rendendolo una inespugnabile fortezza, campo di alloggiamento per i suoi soldati e magnifica residenza: corte principesca, testimonianza di un successo socio-militare, oltre che centro politico nello scenario spesso confuso della geopolitica italiana dell'epoca, e allo tempo stesso buen ritiro per gli anni del tramonto. Come tutti i principi rinascimentali il Colleoni voleva affermare e manifestare il prestigio raggiunto ed il potere conquistato attraverso opere visibili che dessero memoria della grandezza raggiunta, attraverso un mecenatismo che ne certificasse la sensibilità alla cultura, al bello, all'arte.(fonte Wikipedia.
Donatello's Gattamelata: An Analysis
A project for the class Renn. to Modern Day.
Sources:
Venise(s) Part I : Metamorphosis
First part on an impressionist portrait of Venice following a Venetian scholar.
Venise is the French name for Venice. With a S because they are many : personal, imaginary, popular
Many impressions of an extraordinary city where memories from the past & European history are interlaced.
The surface of Venice is constantly metamorphosing and painting Venice is almost like being a restorer, peeling off the layers to find the picture after picture underneath (Arbit Blatas). As though to illustrate the Lithuanian sculptor's words, this short film takes you on a journey to discover some of the most iconic landmarks of this former (and perhaps future?) European capital through the liquid filter of its brackish waters. Like ghosts from a glorious past, images emerge from the glittering surface of the lagoon to capture the multifaceted and often contradictory spirit of the Queen of the Adriatic. The Medieval purity of the Frari cathedral and the striking polychrome marble floors of the Gothic Ca' d'Oro flash upon the screen alongside the stern countenance of Bartolomeo Colleoni, the 15th-century Italian condottiero who in return for his war services requested an equestrian statue of himself to be erected at St Mark's. The Most Serene Republic gladly complied, only setting Colleoni's statue up not in St Mark's Square, but outside the Scuola Grande di San Marco - the stately Renaissance building which houses the city's public hospital. Venetians may have lost much of their craftiness and boldness along with their independence, but the memory of what was once a beacon of European civilization survives in the city's stones. Accompanying these images are the notes of Wagner's Liebestod, a tribute to the German master who breathed his last in Ca' Vendramin Calergi, one of the most distinguished palaces along the Grand Canal, now home to the Venice Casino.
Shot & edited by Tanguy de Thuret
Music:
-Richard Wagner Liebestod from Tristan und Isolde instrumental
The use of the music is not for commercial purpose but for a non profit artistic personal project.
artmirc@yahoo.com.-Cufarul cu Diamante...~VERROCCHIO, Andrea ~ sculptor and painter~2016-13(316)
VERROCCHIO, Andrea del
(b. 1435, Firenze, +d. 1488, Venezia)
Andrea del Verrocchio (originally Andrea di Cione), Florentine sculptor and painter, who is ranked second only to Donatello among the Italian sculptors of the early Renaissance. His equestrian statue of Bartolomeo Colleoni, erected in Venice in 1496, is particularly important.
Little accurate biographical information is known about Verrocchio. He was the son of Michele di Francesco Cioni, a maker of bricks and tiles who later became a tax collector. Financial security always seemed to be a family problem. Verrocchio had to support several of his brothers and sisters. Never marrying, he later provided for the education and dowries of the daughters of his younger brother Tommaso.
Initially he was trained as a goldsmith. His master has traditionally been recorded as a supposed goldsmith, Giuliano Verrocchi, whose last name Andrea apparently took as his own. Another questionable biographical tradition is that of his apprenticeship under Donatello, the greatest Italian sculptor of the early Renaissance. Since the stylistic affinity of Verrocchio's early sculpture is with the work of Antonio Rossellino rather than Donatello, this liaison seems doubtful.
His first studies in painting date possibly from the mid-1460s. He is said to have been a pupil of the Florentine artist Alesso Baldovinetti. But it is assumed that he and Sandro Botticelli worked together under the early Renaissance master Fra Filippo Lippi at Prato, a city near Florence, where Lippi had been commissioned to execute a series of murals for the cathedral.
Verrocchio's reputation was widespread in the second half of the 15th century and many well-known artists of the Italian Renaissance studied painting and sculpture at his Florentine studio. The most important of his students were Leonardo da Vinci and Perugino, the latter Raphael's teacher. The mural painter Domenico Ghirlandajo, Michelangelo's master, was temporarily in close contact with Verrocchio. Sandro Botticelli, the major Florentine painter of the late 15th century, and Francesco di Giorgio, the important Sienese artist, clearly oriented themselves toward Verrocchio's art in certain phases of their development, as did the prominent Florentine sculptors Benedetto da Maiano and Andrea Sansovino.
The three models were exhibited in Venice in 1483 and the contract was awarded to Verrocchio. He then opened a workshop in Venice and made the final clay model which was ready to be cast in bronze, but he died in 1488, before this was done. He had asked that his pupil Lorenzo di Credi, who was then in charge of his workshop in Florence, should be entrusted with the finishing of the statue, but the after considerable delay Venetian state commissioned Alessandro Leopardi to do this. The statue was eventually erected on a pedestal made by Leopardi in the Santi Giovanni e Paolo in Venice, where it stands today.
Verrocchio is unlikely to have ever seen Colleoni and the statue is not a portrait of the man but of the idea of a strong and ruthless military commander bursting with titanic power and energy.This is in contrast to Donatello's statue at Padua of the condottiere known as Gattamelata with its air of calm command and all Verrocchio's effort has been devoted to the rendering of movement and of a sense of strain and energy.
Renaissance Art - 3 Italian Quattrocento: Sculpture
Third video about the Renaissance Art serie. Any doubt? Send me a message.
Historia del Arte:
Land of the Art:
In the early XV century begins the culmination of a slow process of recovery of the models of classical antiquity. This return was initiated and soon acquired a high profile in Italy, where there has always been resistance to imported styles from the rest of Europe, where the memory of Roman art could be seen every day. Thus happened the Renaissance, name given by the painter Vasari, which alludes to the rebirth of Greco-Roman culture and civilization.
Renaissance is the artistic movement. Humanism is the cultural movement, where humans are the center of the universe (anthropocentrism, with Plato as influence, that is, neoplatonism). The people here have interest in Greek-Roman culture, science and progress and they use vernaculars languages. Their most important representant is Erasmus of Rotterdam. The expansion happen by the invention of printing, academies and universities.
Deep religious change. New religiosity, with the Counter Reformation by Luther, that propose the salvation of faith, the lecture of the Bible by all the population and reject the selling of indulgences and the power of the pope. Division in european christianism. The north is protestant and the sur is catholic. Religion wars.
Sculpture in Italy began also in Florence, but it came before the architecture.
Lorenzo Ghiberti: he won the competition for the Second Doors of the Baptistery of Florence (in that competition also participated Brunelleschi), with scenes of the life of Jesus. He also did the Third Doors of the same baptistery, called the Doors of Paradise by Michelangelo, with scenes of the Old Testament.
Jacopo della Quercia: he is from Siena. The Porta Magna has various religious images, with the Virgin and San Petronio. The Fonte Gaia has many classical characters, as Gaia, Rea Silvia and Acca Larentia.
Donatello: he is the most important quattrocentist sculptor. Great naturalism, as showed in San Marcos, San George, San John Evangelist and Zuccone. He also does the Cantoria of the Cathedral of Florence, with musician children dancing and running, with similar composition to the Pulpito of Prato. One of his most known artworks is the David Bargello, with contrapposto, and also the portrait of Niccolo da Uzzano, a psycological portrait. He also did reliefs, with the schiacciato, a technique for reliefs to do bas-reliefs with minimal variation, as in the Feast of Herodes in the baptismal font of Siena, and even more in the Annunciation of Santa Croce. Also the bas-reliefs of the Altar of the church of San Antonio in Padua. The Monument of Gattamelata is very impressive, it is an equestrian sculpture. In his last period in Florence there are the Judith and Holofernes and the Pulpitos of San Lorenzo. One is the Pulpito of Resurrection, the first one, with scenes of the life of Christ after his death. The Pulpit of Passion is the second, and has scenes of the Passion of Christ, without the Last Supper.
Luca della Robbia: he liked to represent women and children. Bas-reliefs of the campanile of the Florence cathedral. Also he has Madonnas.
Andrea Il Verrocchio: more realist than Donatello. He also did a David. Others are the Putto col delfino and Christ and St. Thomas. The most interesting one is the statue of Bartolomeo Colleoni, also an equestrian sculpture, with more dynamism than the one of Donatello.
Antonio Pollaiuolo: more realism and better anatomic studies. His masterpiece is Hercules and Antaeus, with great dramatism.
Agostino di Duccio: he worked in the facade of San Bernardino in Perugia and the facade of the Malatestian Temple of Rimini.
Desiderio da Settignano: not too realist, with the bust of Marietta Strozzi.
Rosellino Brothers: they are Bernardo and Antonio. Bernardo did the tomb of Leonardo Bruni in Santa Croce, and Antonio did other sepulchres.
Benedetto da Maiano: portraitist, with great naturalism. Busts of Pietro Mellini and Filippo Strozzi.
Music: Pavana I-VI by Luys Milan
Photos taken in Google images.
No copyright infringement intended.