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Titolo dell'opera:

Convito in Betania

Autore:

Manfredino da Pistoia

Epoca:

Inventario:

MSA 3640

Misure:

Unità di misura: cm; Altezza: 226; Larghezza: 205

Tecnica:

Affresco staccato su resina di vetro

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Convito in Betania (16622)
Descrizione:

The fresco comes from a side wall of the choir of the Church of San Michele di Fassolo, demolished in 1858; the detachment was executed in 1849 by the painter Tammar Luxoro. Manfredino brought the novelty of painting in the way it was evolving in Assisi, from where the painter probably moved directly to Genoa, living there for at least until 1305. The fresco depicts Jesus at Simon's supper, as he is seated with other guests (and an apostle); below, Mary Magdalene washes and anoints Christ's feet. A city with large buildings forms the backdrop to the scene.

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Titolo dell'opera:

Burial of an elderly person from the Pollera Cave

Author/ School/ Dating:

Burial of an elderly person from the Pollera Cave (Finale Ligure, SV)

Object Type:

sepoltura

Epoca:

Misure:

Unità di misura: UNR (

Tecnica:

osso

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Burial of an elderly person from the Pollera Cave (Finale Ligure, SV)
Descrizione:

The burial was that of a 60-year-old male. The elderly individual had lost most of his teeth and had alveolar resorption. The subject had: a left parietal depression with hairline fractures; possible trauma and attempted trepanation; a fractured right clavicle with pseudoarthrosis; osteophytic spurs on the thoracic vertebrae. In addition to the skeleton, only a green stone axe, heavily worn from use, has survived, which was probably a personal tool of the deceased. The axe is a common working tool among Neolithic populations and is considered a male symbol because it has only been found in the burials of men in this and other prehistoric cultures. The artefact comes from the Caverna della Pollera (Finale Ligure – SV).

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Titolo dell'opera:

"Skull of Ursus Spelaeus, Ros." dalla Caverna delle Fate

Ambito culturale:

ambito pleistocenico

Author/ School/ Dating:

"Skull of Ursus Spelaeus, Ros." dalla Caverna delle Fate (SV)

Object Type:

skull

Epoca:

Misure:

Unità di misura: cm; Altezza: 16,5; Larghezza: 25; Lunghezza: 39

Tecnica:

ossa

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"Skull of Ursus Spelaeus, Ros." dalla Caverna delle Fate (SV)
Descrizione:

This skull was found in the Caverna delle Fate (SV) together with other bone remains documenting the presence of cave bears in numerous prehistoric caves in Liguria. Larger than today's grizzlies and predominantly herbivorous, it was widespread in Europe in the Upper Pleistocene. On its hind legs it could reach up to 3.5 metres in height and had long teeth and sharp claws. These animals took refuge in caves during the winter and some individuals could die or be hunted by Neanderthals: hunting cave bears could procure a large amount of meat, but also fur, tendons and fat. In Toirano (SV), in the Caverna della Bàsura, cave bears lived between 50,000 and 24,000 years ago and an excavation inside the cave uncovered a level where traces of fossilised fur were found. A large specimen reassembled from the bones of different individuals from the Caverna del Pastore (Toirano, SV) can also be admired in the museum. Skull of "Ursus Spaeleus" (order: carnivores; family: ursidae), somewhat chipped and covered with clay incrustations. It preserves 'in situ' all the teeth except the incisors. Found in the Caverna delle Fate (Finalborgo).

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Titolo dell'opera:

bucket

Acquisizione:

sec. XIX fine

Author/ School/ Dating:

bucket

Epoca:

Inventario:

3475

Utilizzo:

sgottare l'acqua dai bacini chiusi fissato per mezzo della catena ad una gru a bilanciere girevole detta 'cicogna' quando il bacino è stato delimitato da palificate

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bucket
Descrizione:

DESO: iron bucket with pivoted reinforcement and chain DESI: subject absent DESS: subject absent Before the invention of dredgers - vessels used to excavate the seabed of a harbor - operations were carried out manually.

Having delimited the area concerned by means of a wooden piling, “cicogne” were mounted on the edge of it: sort of wooden cranes equipped on one side with a chain holding an iron bucket; on the other by a counterweight.

With the cicogne, the basin was emptied of water, after which workers would remove the bottom from the mud by the use of baskets carried on their shoulders. Women were also engaged in this kind of labor, which was very tiring.

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Titolo dell'opera:

Galea genovese

Acquisizione:

Arsenale della Repubblica di Genova e Museo Civico - Provenienza

Ambito culturale:

ambito italiano

Author/ School/ Dating:

Galea genovese (196646)

Epoca:

Inventario:

3382

Misure:

Unità di misura: cm; Altezza: 150; Larghezza: 220; Lunghezza: 38

Tecnica:

legno

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Galea genovese (196646)
Descrizione:

The galea was a type of vessel used by European fleets until the early 19th century, although its ‘golden age’ coincided with the 16th-17th centuries. Its strong points - whose conception dates back to the ancient Greco-Roman triremes - did not change over the centuries: the possibility of sailing and rowing, its manoeuvrability, its shallow draught (that is, the submerged part of the hull), and its function as both merchant and military vessel: in fact, it could embark a few dozen ‘naval soldiers’, armed at one time with bows and arrows, then with crossbows, and finally with arquebuses and muskets; artillery pieces could be few and light, a shortcoming that eventually made the galley lose its centuries-old confrontation with the great vessels.

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Titolo dell'opera:

Lastra commemorativa della presa di Porto Pisano

Ambito culturale:

ambito genovese

Author/ School/ Dating:

Lastra commemorativa della presa di Porto Pisano (198053)

Epoca:

Inventario:

MSA 18

Misure:

Unità di misura: cm; Altezza: 39; Profondità: 12; Lunghezza: 81,5

Tecnica:

marmo bianco apuano scolpito e inciso

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Lastra commemorativa della presa di Porto Pisano (198053)
Descrizione:

Originally this stone, the product of a Genoese sculptor, was placed on the façade of a private house in Vico dritto di Ponticello, which went to Porta di S. Andrea, today Porta Soprana, the main entrance to the city from the east. The stone celebrates the victory of the Genoese who, after defeating the Pisans in the naval battle of Meloria (1284), had inflicted a stringent peace agreement on them, which was largely broken. This led to a naval expedition in 1290, aimed at forcing the rival city to respect the pacts: having broken the chains protecting the port, the Genoese devastated it. The chains of the harbour were displayed as a trophy in Genoa in some of the city's important buildings.

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Titolo dell'opera:

Personaggio eminente

Ambito culturale:

ambito campionese

Author/ School/ Dating:

Personaggio eminente (198056)

Epoca:

Inventario:

MSA 3663

Tecnica:

marmo bianco apuano scolpito

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Personaggio eminente (198056)
Descrizione:

The sculpture was created by the workshop of the 'Maestro di Giano', a collective name for a community of Lombard sculptors who were particularly active in Genoa until the 1220s: having initially taken charge of the decoration of the parts of the Cathedral of San Lorenzo damaged in the fire of 1296, they assumed a predominant role in the city.

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Titolo dell'opera:

Lapide sepolcrale di Simonetta e Percivalle Lercari

Ambito culturale:

ambito genovese

Author/ School/ Dating:

Lapide sepolcrale di Simonetta e Percivalle Lercari (198123)

Epoca:

Inventario:

MSA 3610

Misure:

Unità di misura: cm; Altezza: 22,8; Larghezza: 27,3; Profondità: 4,7

Tecnica:

marmo bianco apuano dipinto a tempera

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Lapide sepolcrale di Simonetta e Percivalle Lercari (198123)
Descrizione:

Gravestone of the brothers Simonetta and Percivalle Lercari, buried on 16 August 1259, from the cemetery of the church and hospice of San Giovanni di Prè. The work, a mixture of sculpture, painting and goldsmithing, refers to the artistic culture in vogue at the time in the Île de France: represented in the form of an illuminated page at the centre of which is a silver plaque in the form of a church front in which the two deceased brothers are kneeling before the Madonna and Child.

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Titolo dell'opera:

Cofanetto

Acquisizione:

Legato Luxoro 1945 - legato

Ambito culturale:

manifattura veneta

Author/ School/ Dating:

Cofanetto (198850)

Epoca:

Inventario:

M.G.L. 727

Misure:

Unità di misura: cm; Altezza: 19; Larghezza: 19,6; Profondità: 13,2

Tecnica:

osso, legno, avorio

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Cofanetto (198850)
La convalescente

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Titolo dell'opera:

The convalescent

Acquisizione:

Arturo Martini, per lire 10 1932 Genova - acquisto

Autore:

Martini, Arturo

Object Type:

sculpture

Epoca:

Inventario:

GAM 697

Misure:

Unità di misura: cm; Altezza: 93; Larghezza: 60; Profondità: 132

Tecnica:

Terra refrattaria

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The convalescent
Descrizione:

The overall layout of the work owes much to Medardo Rosso's "Sick Man in the Hospital", which was exhibited in the retrospective exhibition at the 1st Quadriennale in Rome in 1931. The idea of capturing an action as it unfolds and the search for plastic unity between the various parts, achieved with an identical sculptural treatment, is much more evident in the refractory earthenware sketch made by Martini in 1932, where the wide folds of the girl's dress, caught in the act of standing up, blend in with those of the armchair (Fergonzi 1989, p. 927). While in the sketch the artist concentrates mainly on the 'monumental' possibilities of terracotta, in the final work, of which there is a version in refractory terracotta (Genoa, Galleria d'Arte Moderna), he seems to want to test the pictorial potential of stone, as the three different levels of finish in the side of the armchair, in the flesh of the arm and in the folds of the fabric clearly show (Vianello, Stringa, Gian Ferrari 1988, p. 217). The simplification of the sculpture's general conception, perhaps also due to the greater difficulty of working with the material chosen for the final realisation, corresponds to a greater attention for the descriptive and pathetic details, duly noted by critics when the work was first exhibited in Martini's solo show in February 1933 at the Galleria Milano (Bucci 1933). The sculpture depicts a young woman abandoned in a rocking chair, her arms resting on the armrest and an open book. The artist was inspired by the face of his daughter Maria, known as "Nena", transfigured and absorbed in a timeless atmosphere, archaic and distant and, for this very reason, of universal and deep human intensity.

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