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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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Titolo dell'opera:

Lastra sepolcrale di Lazzaro Doria

Autore:

Gaggini, Giovanni

Epoca:

Inventario:

MSA 3727

Misure:

Unità di misura: cm; Altezza: 224; Larghezza: 88; Spessore: 11

Tecnica:

marmo

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Lastra sepolcrale di Lazzaro Doria (231626)
Descrizione:

A large quadrangular slab in the centre of which - within an architecturally defined niche - Lazarus Doria is depicted lying down, with crossed arms and his head supported by a cushion. The relief was placed in the chapel of Lazzaro Doria (1412-1486) at the Certosa di Rivarolo, where the illustrious Genoese merchant and politician decided to be buried. Also part of this burial, dismembered in the 19th century, was the seal with a coat of arms and seven spirits now in the Louvre (inv. RF 2012.08).

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Titolo dell'opera:

Geographical atlas

Acquisizione:

Gio Batta Bibolini 06/04/1905

Autore:

Nolin, Jean Baptiste

Object Type:

atlas

Epoca:

Inventario:

669

Misure:

Unità di misura: cm; Altezza: 68; Larghezza: 50

Tecnica:

carta- acquaforte ritoccata a mano

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Geographical atlas
Descrizione:

Jean-Baptiste Nolin and his son of the same name (✝ 1762), were the true innovators of French cartography. Their activity took place between the end of the 17th century and the first half of the 18th century, when the primacy of cartographic production passed from the Dutch to the two emerging “imperial” navies, the English and French.
The atlas they edited, the Theatre du Monde, is dedicated to Louis XIV, the Sun King, who appears on the book's title page as the new Apollo and leads the sun chariot through the clouds.
The text of the volumes is articulated, the maps are complete and complex: they represent a world still largely undiscovered, but in which the exploratory routes to be followed are already outlined: this is the case of Australia, whose east coast will only be 'mapped' some seventy years later but which here sees the outlines of a new continent anticipated.
Another great contribution of J. B. Nolin is then the great contribution of J. B. Nolin. B. Nolin's great quadripartite map - i.e., divided into four plates, present at the beginning of the book - entitled ‘Le globe terrestre réprésenté en deux pian hemispheres dressé sur les dernières observations’: produced in 1700, with the precision of its engravings and the abundance of geo-cartographic details, it marked the advent of a new era in cartography. Collection of maps bound in one volume.

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Titolo dell'opera:

Katsina figurine

Acquisizione:

Enrico A. D'Albertis 1932

Author/ School/ Dating:

Katsina figurine

Epoca:

XIX - 1851 - 1900

Inventario:

C.D.A.548

Misure:

Tipo di misura: altezza; Unità di misura: cm; Valore: 32.5

Provenienza (nazione):

Arizona (U.S.A.)

Tecnica:

Tradizionalmente per realizzarle si usava una radice essiccata di pioppo. Le figurine più semplici erano intagliate in un solo pezzo, mentre quelle che presentano grandi copricapi e orecchie di notevoli dimensioni sono intagliate da più pezzi di legno poi assemblati. In seguito le braccia, le gambe, i copricapi e le teste stesse potevano essere intagliate separatamente e poi unite al corpo. Dopo l'intaglio la figurina veniva posta in un bagno di argilla, oggi sostituito da altre sostanze. i dettagli erano dipinti con pigmenti vegetali o minerali, in seguito sostituiti da colori ad acqua, tempere o, più recentemente, da colori acrilici. Tradizionalmente per stendere il colore venivano usati spazzolini di fibra di yucca; oggi vengono usati pennelli. Successivamente si aggiungevano altri particolari, come a esempio la gorgiera che una volta era costituita da un involto di ramoscelli verdi poi intagliata nel legno o in plastica, o da pelo di piccoli animali. Alcuni tipi di figurine hanno i copricapi ornati di piume, una volta ricavate da uccelli particolari, come l'aquila, oggi prese invece da uccelli domestici o passeri. Le katsina doll possono avere in mano vari oggetti, come sonagli, coltelli, archi. I monili possono essere dipinti o costituiti da perline, da turchesi o da argento. Esistono delle rappresentazioni katsina ricavate da una tavoletta che erano date alle neonate e appese alla loro culla.

Utilizzo:

Simbolica; spirituale; ludica; didattica. Le figurine Katsina venivano date alle bambine per la loro educazione religiosa. Dalla nascita al matrimonio.

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Katsina figurine
Descrizione:

Katsina doll whose body is carved from a single piece of black poplar. The ears and the four horns of the headgear were carved and joined to the body later. The surface of the doll and the round eyes are painted, while a leather tongue hangs from the mouth. A leather cloak is knotted on the shoulders. The figure is dressed in a cloth skirt and fringed leather cloak and leggings The masks are the most important part of the figure and serve to identify it with the Katsina spirit it represents. Katsinim (plural of katsina) are spiritual beings identified as elements of the natural world or cosmos. Katsina figurines were given to little girls for their religious education. There are katsina figurines made from a tablet that were given to newborn girls and hung from their cradle.

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Titolo dell'opera:

anthropomorphic wooden panel

Acquisizione:

D'Albertis Enrico Alberto 1932

Author/ School/ Dating:

anthropomorphic wooden panel

Object Type:

sculpture

Epoca:

19th - 1851 - 1900

Inventario:

C.D.A. 481

Misure:

Tipo di misura: altezzaxlarghezzaxspessore; Unità di misura: cm; Valore: 97x56x19

Provenienza (nazione):

Nuova Zelanda

Tecnica:

Veniva intagliata nel legno con scalpelloe martello di legno. La scultura veniva poi dipinta con ocra rossa cotta mescolata con olio di squalo. Venivano poi aggiunti intarsi di conchiglia di "paua". Le sculture generalmente erano di due tipi: antropomorfe, con la caratteristica di avere la testa sproporzionatamente grandee una bocca accentuata con lingua sporgente in segno di sfida e per allontanare il male, che rappresentavano figure mitiche e antenati; oppure rappresentazioni dell'uomo-uccello.

Utilizzo:

Decorativa/simbolica Decorava un elemento architettonico (architrave, stipite, trave del tetto, palizzata). Costruzione di edifici

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anthropomorphic wooden panel
Descrizione:

Wooden sculpture of a human figure (tiki).The rectangular frieze is carved with spiral motifs and a relief anthropomorphic figure, which is in an upright position entirely covered with ornamental carvings depicting tattoos. A disc of mother-of-pearl is inserted on the top of the head and two other discs are inserted in the orbital cavities. A tongue protrudes from the large mouth. Tridactyl hands resting on the belly. Decorative spiral motif, derived from the volutes of fern leaves, symbolising the coming of light and knowledge to earth. It was carved in wood with a chisel (of basalt or jade) and a wooden hammer. The carving was then painted with baked red ochre mixed with shark oil. Inlays of “paua” (abalone) shell were then added. The carvings generally were of two types: anthropomorphic (tiki), with the characteristic of having a disproportionately large head (since it was considered to be the seat of the “tapu,” the sacred) and an accentuated mouth with a protruding tongue as a sign of defiance and to ward off evil, they represented mythical figures and ancestors; or representations of the bird-man (manaia). The object, which has slightly different characteristics than traditional sculptures, was probably commissioned to adorn a dwelling of white people; in fact, anthropomorphic figures traditionally have their lower limbs slightly bent and spread apart, whereas this one has them together.

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Titolo dell'opera:

Rattle

Acquisizione:

Associazione Amici del Castello D'Albertis 1999

Author/ School/ Dating:

Rattle

Epoca:

XX - 1941 - 1960

Inventario:

A.D.V.21

Provenienza (nazione):

Arizona (U.S.A.)

Utilizzo:

Cerimoniale/accompagnamento nelle danze. Agitato. Cerimonie.

Ultimi prestiti:

Ai confini del deserto dipinto. Gli Indiani Hopi e la collezione Dalla Volta-Finzi - Genova, Palazzo Ducale - Centro culturale Primo Levi, 1998

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Rattle
Descrizione:

Rattle made from a spheroid gourd with an inserted handle consisting of a wooden board painted red on the part that protrudes from the top of the gourd. The gourd is painted yellow and has various designs symbolising: cumulus cloud, corn plant above the earth, thunderbolts, sprouted gourd flower 'siveni'. The spheroidal gourd represents the world and the handle passing through it symbolises the axis of the earth This gourd rattle is used in various Hopi ceremonies. The Hopi practice dry farming, so everything involving their religion is meant to increase soil moisture. A rain-bearing cumulus cloud is painted on the rattle, with a thunderbolt on either side at the top and two more at the base of the cloud. The black lines represent the dark lines at the base of a cumulus cloud. The rain falls on the corn plant, symbolizing a bountiful harvest for the year. The base of the plant is the earth, the Fourth World of the Hopi. The round gourd represents the colorful earth on which we live. The top end of the handle generally bears prayer feathers because it represents the upper axis of the world, while the handle represents the other axis of the world.

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Titolo dell'opera:

Nampeyo bowl

Acquisizione:

D'Albertis Enrico Alberto 1932

Autore:

Nampeyo

Epoca:

XIX - 1891 - 1900

Inventario:

C.D.A.1380

Misure:

Tipo di misura: altezza; Unità di misura: cm; Valore: 7; Tipo di misura: diametro; Unità di misura: cm; Valore: 16

Provenienza (nazione):

Arizona (U.S.A.)

Tecnica:

L'argilla era raccolta sotto le mesas dove abitano gli Hopi e setacciata per eliminare le pietrine così da ottenere un'impasto molto fine. Successivamente veniva mescolata con acqua e modellata a colombino, tecnica con cui si realizzano cordoli di argilla poi sovrapposti a spirale e pressati per formare il pezzo. L'oggetto veniva levigato a mano con frammenti di ceramica o con raschiatoi di zucca. Quando il vaso era essiccato si lisciava la superficie con una pietra morbida e con una più dura per levigarla, dipingendola con pigmenti vegetali. La cottura si realizzava mettendo sul terreno sterco essiccato di mucca o pecora ricoperto da un cumulo di frammenti metallici e di ceramica, su cui erano posizionati i vasi. Il tutto veniva ricoperto con altri frammenti di ceramica e di sterco. La cottura dei vasi durava tutta la notte.

Utilizzo:

Contenitore per stufato. Cerimonie/danze/matrimoni/nominazioni di bambini.

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Nampeyo bowl
Descrizione:

Terracotta bowl with a slightly convex bottom and a small side grip. Internally it is painted with geometric motifs known as the ‘storm motif’ and with the stylised figure of a bird, possibly a road runner (Geococcyx californianus), coloured in brown and orange on a cream background.

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