Itineraries 2018-04-11T14:25:40+00:00
The art itineraries that will be organised concurrently with the exhibition are designed to offer visitors a broad and exhaustive overview of 16th century painting in Brescia, its golden age, when local painters not only established a fruitful dialogue with Venice, but also carried out independent research, especially in pursuing naturalistic painting.
During the time of the exhibition it will also be possible to visit churches and collections in the city and in the surrounding areas, in order to get more insight into the great Brescian masters – i.e. Moretto, Romanino and Savoldo – as well as into other leading painters who contributed to defining 16th century painting and its school in Brescia, known and appreciated all over the world.
The available routes will be presented in printed materials and on the Internet. Explanatory totems will be installed in/near all the buildings involved, while the itineraries will be presented by means of guided tours and at educational workshops.

This tour starts from Collegiata dei Santi Nazaro and Celso, where visitors can admire Titian’s Averoldi Polyptych, namely the work on which the exhibition critical narration hinges, as well as other works by Moretto, such as the Coronation of the Virgin and Saints, an extraordinary example of how deeply Titian’s art had informed the painting of this master from Brescia.

The second stop is at the Museo Diocesano where, in addition to several works by Moretto and Romanino, there are three small tables belonging to the lost altarpiece painted by Moretto for San Nazaro, depicting the Annunciation and the Adoration of the shepherds.

Finally, near the Pinacoteca Tosio Martinengo, the Santuario (Shrine) of Sant’Angela Merici houses works by Venetian artists of the late 16th century, including Bassano and Jacopo Tintoretto, with an interesting Transfiguration in which Venetian early Renaissance culture is matched with the recitative emphasis typical of Mannerism.

This second longer tour offers a more detailed visit of the city center. Starting from the Pinacoteca Tosio Martinengo, it then continues to the Santuario di Sant’Angela Merici, San Nazaro, to reach San Francesco. Here Romanino’s altarpiece is kept with the painting Madonna with Child and saints. This work documents the transition in the artist’s style from his initial adherence to Venetian culture to his personal anticlassical interpretation.

Next the tour leads to San Giovanni Evangelista, the temple of Brescian Renaissance, with works testifying to Moretto’s and Romanino’s entire artistic career and culminating with the Chapel of the Sacrament, where an outstanding cycle of paintings by the two artists show their interpretation of the themes and forms of Renaissance art.

After a stop at Museo Diocesano, the visit goes on at the Duomo Nuovo. The organ doors by Girolamo Romanino depict Stories of the Virgin, painted in the artist’s later years, with the same monumental and colourful style that informs the large fresco cycles in Valle Camonica.

The next stop is in Duomo Vecchio, where the last works by Moretto and Romanino and, in particular, the paintings of the destroyed Sacramento chapel in San Pietro de Dom can be compared. Also, Moretto’s beautiful juvenile work Assumption of the Virgin can be viewed, with an identical subject to Titian’s painting for the church of Frari in Venice.

The route continues with the church of San Clemente, the temple of Moretto’s art, with mostly mature works at the end of his career: the altarpiece of the high altar, depicting the Virgin with Child and saints, with a clear change to a more Mannerist style, was strongly influenced by Correggio and the painting school in the Emilia region.

The last stop is in Santa Maria in Calchera, where Moretto left one of his masterpieces: the Dinner in the Pharisee’s house, a wonderful example of the master’s painting, with its delicate construction, rendering of details, and handling of light.

The third route starts from the church of Santa Maria della Neve in Pisogne, where Romanino staged a real dramatic narration across the church walls and vaults, with episodes from the passion of Christ in dialogue with the mighty figures of prophets and sibyls who populate the ceiling.

In the church of Santa Maria in Valvendra in Lovere, visitors may admire the organ doors painted by Floriano Ferramola and Moretto for Santa Maria de Dom. Very well known are the saints Faustino and Jovita on horseback, painted by a very young Moretto. In these paintings, Venetian and Titian painting culture is dealt with an already mature and conscious eye.

In Pinacoteca dell’Accademia Tadini there is also a series of Venetian paintings dating back to the late 15th century, including above all the beautiful Sacred conversation by Paris Bordon, imbued with Titian style and colors reminding of the Venetian lagoon.

The tour in pursuit of Romanino’s works continues in Borno, in the church of Santa Maria Annunciata: in the Scenes of the Virgin’s life, painted in the presbytery, the narration rhythm is matched with an architectural arrangement which is very rare in Romanino’s works: the solemn compositions and figures resonate with those on the organ panels now kept in Brescia’s Duomo Nuovo.

Still in pursuit of Romanino’s works, the tour ends in Breno. Here, in the church of Sant’Antonio, Romanino painted a cycle of frescoes with Old Testament Stories. In spite of their current bad conditions, they are still good examples of quick dialectal style, capable of expressing and concentrating a scene pathos.

Also the last stop in Breno, at CaMus, is dedicated to Romanino. On display here is the evocative canvas with the Cruxifixion and Magdalene, an outstanding example of expressive power.

This route features a visit to Montichiari and Asola. Romanino’s Last Supper can be seen in the Duomo of Montichiari. It is an outstanding example of the extent to which the style and research on light by Northern painters had also informed Brescian artists. Also, at Museo Lechi, the Portrait of a Young Man, also by Moretto, is on display. It is a typical example of the refined and solemn portraiture by this master from Brescia, which will inform the early portraiture production by Giovan Battista Moroni.

In Asola’s Cathedral, there are some other paintings by Moretto, unfortunately very deteriorated, with figures of saints, a monumental organ and a pulpit, painted by Romanino with figures of prophets, sibyls, and apostles. Outstanding is also the design and execution of wooden decorations, by Clemente Zamara also from Brescia.

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