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Titolo dell'opera:

Wounded nature

Acquisizione:

Collezione LAB - Laboratorio Bassa Lunigiana 2001

Autore:

Uecker, Günther

Object Type:

drawing

Epoca:

- XX

Inventario:

2506

Misure:

Unità di misura: cm; Altezza: 70; Larghezza: 50

Tecnica:

carboncino, matita, cenere, colla su carta

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Wounded nature
Descrizione:

After studying art in Germany in 1957, Uecker became involved with the Zero Group. The work ‘Natura ferita’ (Wounded Nature) in the Museum's collections contrasts the pine trunk, treated on its surface with glue and ash as if to protect its integrity, with the violent and destabilising presence of nails hammered into the upper part of the trunk. The sculpture is preceded by a preparatory drawing, also present in the collection. Using charcoal and pencil, Uecker draws in a gestural and almost violent manner the project that he will realise in three dimensions.

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Titolo dell'opera:

Overdoor with Saint George

Acquisizione:

1887 - acquisto

Author/ School/ Dating:

Overdoor with Saint George

Epoca:

Inventario:

MSA 527

Misure:

Unità di misura: cm; Altezza: 81; Larghezza: 206.5; Profondità: 15

Tecnica:

ardesia scolpita- incisa

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Overdoor with Saint George
Descrizione:

Slate superstructure depicting St. George on horseback with sword raised in the intent to slay the dragon, while the princess with raised arms observes the scene. On either side of St. George are two totally obliterated heraldic arms: only the helmets with cat figures as crests are preserved. Coming from the collection of sculptor Santo Varni, it was originally placed in Palazzo Fieschi in Piazza San Lorenzo.

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Titolo dell'opera:

Fresnel lens

Author/ School/ Dating:

Fresnel lens

Epoca:

Inventario:

4642

Misure:

Tipo di misura: diametro; Unità di misura: cm; Valore: 60; Profondità: anello massimo; Tipo di misura: altezza; Unità di misura: cm; Valore: 80; Profondità: ottica completa

Tecnica:

vetro/ bronzo

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Fresnel lens
Descrizione:

The Fresnel lens decisively improved the age-old problem of the visibility of a lighthouse from a great distance. Until then, two factors had been at play: the height of the lighthouse and the intensity of the light produced.
Coastal towers with fires burning at the top have been known since ancient times.
For centuries the fire was fed by burning wood, later coal, with the problems associated with finding the material and the difficulty of transporting and lifting it to the top of the lighthouse.
Other problems were related to wind and rain, which extinguished the flame: the installation of protective glass was useful on the one hand, but limited visibility due to the opacity of the glass, which was caused by poor quality material and soot. It was only during the 18th century that the situation improved thanks to new techniques of glass production and the use of new fuels that gave off little or no smoke: candle wax, olive oil, whale oil (spermaceti), acetylene gas, and finally the definitive electrification of lighthouses.
In the meantime, great progress was being made in the field of optics and light refraction in particular: it was realised that converging the rays of a light source by means of mirrors or lenses improved its visibility at great distances.
The physicist Augustin-Jean Fresnel achieved this in 1827 by shaping the outer surface of a lens into a series of concentric rings, at the centre of which was the light source. His invention solved the other problems, which were the weight, thickness and bulk of an ordinary spherical lens.
The light reflected from the lens in the Galata Museum was visible up to 27 miles (15 km) away.

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Titolo dell'opera:

Fronte del sarcofago di Pagano Doria

Ambito culturale:

Scultore lombardo attivo a Genova

Author/ School/ Dating:

Fronte del sarcofago di Pagano Doria (13011)

Epoca:

Inventario:

MSA 43

Misure:

Unità di misura: cm; Altezza: 90; Lunghezza: 233

Tecnica:

marmo

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Fronte del sarcofago di Pagano Doria (13011)

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Titolo dell'opera:

Biribis game

Acquisizione:

Matteo Luxoro 1945 Genova - legato

Ambito culturale:

manifattura genovese

Author/ School/ Dating:

Biribis game

Object Type:

game

Epoca:

Inventario:

M.G.L. 220

Misure:

Unità di misura: cm; Altezza: 66; Larghezza: 91

Tecnica:

olio su tela

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Biribis game
Descrizione:

As revealed by the emblem of the Republic and the coats of arms of local families such as the Doria and Spinola, the game originated in Genoa, where it was very popular in the 18th century. The canvas folder, which was originally stored rolled up around wooden slats fixed to the sides, is painted with 66 square boxes, each depicting allegorical figures such as Fortune or Vanity, animals, fruits, Commedia dell'Arte masks and various characters, as well as the heraldic arms of Genoese families.

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Titolo dell'opera:

Portolano of the Black Sea and Genoese Colonies

Acquisizione:

Mercato antiquario

Author/ School/ Dating:

Portolano of the Black Sea and Genoese Colonies

Object Type:

globe

Epoca:

Inventario:

3373

Misure:

Unità di misura: cm; Altezza: 34; Larghezza: 47

Tecnica:

pergamena- inchiostro

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Portolano of the Black Sea and Genoese Colonies
Descrizione:

From the middle of the 13th century, small communities from all over Liguria settled on the coast of the Black Sea. The overseas Genoese made up more than 80% of the western population of those lands. Cities such as Soldaia, Pera and Caffa, experienced exceptional development, built walls and resisted the assaults of the Greeks and Mongols, although two centuries later they did fall into the power of the Ottomans, who were superior in numbers, ships and firepower. The Genoese coexisted with the Orientals, not integrating, converting or subduing them as was the logic of 19th century colonialism. The Genoese colonies in the Black Sea were the privileged meeting point between the world of the steppe and the forest and the Mediterranean merchant cities, places where the most important local resources - wax, honey, furs, cereals, even slaves - were traded in exchange for cloth, canvas, wine.

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Titolo dell'opera:

Altare di Santa Maria della Pace -Trittico con Madonna della Cintola e Santi

Ambito culturale:

Arte dell'Italia Centrale

Author/ School/ Dating:

Altare di Santa Maria della Pace -Trittico con Madonna della Cintola e Santi (13224)

Epoca:

Inventario:

MSA 256

Misure:

Unità di misura: cm; Altezza: 195; Larghezza: 238; Profondità: 16

Tecnica:

marmo scolpito e dipinto

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Altare di Santa Maria della Pace -Trittico con Madonna della Cintola e Santi (13224)
Descrizione:

Framed in an elaborate structure reminiscent of the wooden frames of polyptychs of the time, this composition, in purely Lombard style, is characterised by having almost entirely preserved its original colouring. In particular, note how the central Madonna, dressed in blue, is surrounded by angels dressed in the colours of the theological virtues: red for faith, green for hope, white for charity. The figures are inspired by northern Gothic, while the decoration, with its elegant carved woodwork, shows inspiration from painted polyptychs.

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Titolo dell'opera:

Psicostasia dell'Arcangelo Michele

Ambito culturale:

ambito pistoiese

Author/ School/ Dating:

Psicostasia dell'Arcangelo Michele (16623)

Epoca:

Inventario:

MSA 3641

Misure:

Unità di misura: cm; Altezza: 272; Larghezza: 138

Tecnica:

Affresco staccato su resina di vetro

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Psicostasia dell'Arcangelo Michele (16623)
Descrizione:

Originally, the fresco - together with its twin depicting the Supper at Simon's House - decorated the apse of the church of San Michele di Fassolo. They remained covered by a subsequent layer of plaster until their rediscovery during the demolition of the church, located around the current railway station in Piazza Principe. The two frescoes were painted in 1292 and signed by Manfredino d'Alberto da Pistoia, who was active in Pistoia and Genoa between 1274 and 1305 (the year in which he signed the frescoes in the Church of Carmine). Manfredino, who may have worked on Cimabue's construction site in Assisi, introduced the Tuscan innovations of the late 13th century to Genoa. This fresco depicts Psychostasia, the weighing of souls, in which the Archangel Michael appears as judge and warrior. He is seen with his wings spread, stretching out his right arm to hold a pole from which a set of scales hangs. One of the scale pans holds a faithful believer in a supplicating posture. To the left of the scene, the wings of the devil can be glimpsed, perhaps depicted as a dragon, according to the iconography of St. Michael the dragon slayer, victor over Evil.

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Titolo dell'opera:

Convito in Betania

Author/ School/ Dating:

Convito in Betania (16622)

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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