Pinacoteca Di Brera The Premier Collection Of Italian Paintings

Pinacoteca Di Brera The Premier Collection Of Italian Paintings

The Pinacoteca di Brera (Brera Art Gallery) is an art collection of premier Italian paintings and is located in Milan, Italy. It has been developed as the efforts of the Brera Academy that even shares the space in the Palazzo Brera. The Palazzo Brera name as provide to the museum is due to the results of the Germanic braida that signs a grassy opening towards the grassy opening at the city structure when compared with the Bra of Verona.

The site for the museum, centuries back was a convent that was further passed on to the Jesuits in the 1572, and after that there occurred a fundamental rebuilding by Francesco Maria Richini (1627–28). Despite the disbanding of Jesuits even in 1773, the palazzo, yet, was the seat of the astronomical Observatory and the library founded by the Jesuits. In 1774 to it was extended the herbarium of the new botanical garden. The buildings were made on and as according to the designs of the Giuseppe Piermarini, who was appointed as a professor in the Academy when it was ideally started in 1776, with Giuseppe Parini as dean.

Piermarini taught at the Academy for about 20 years, as he was the controller of the city’s urbanistic projects such as the public gardens and piazza Fontana.

The academy further intensified their efforts as for better teaching of architecture, sculpture and other arts, the museum was provided with a collection of casts after the Antique, an essential as for developing the Neoclassicism in the students.

Under Parini’s successors, the abate Carlo Bianconi and artist Giuseppe Bossi , the Academy obtained the first paintings of its pinacoteca as during the reassignment of works of Italian art that even characterized and showed of the Napoleonic era and period.

Raphael’s Sposalizio, which is termed as the Marriage of the Virgin is from the earlier collections, is one of the important painting in the museum. The academy further intensified its influence by adding the works of artists like David, Pietro Benvenuti, Vincenzo Camuccini, Canova, Thorvaldsen and the archaeologist Ennio Quirino Visconti.

In 1805, in subordination of Bossi’s direction, the series of annual exhibitions was started with a system of prizes that helped in the identification of Milan as the cultural capital of the contemporary paining in Italy during the 19th century. In the Romantic era there prominence of academic history painting was seen as guided at the Academy by Francesco Hayez.

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