This fall marked the 70th Anniversary of Bob Jones Unversity’s Museum & Gallery — one of the most important and unique collections of old master paintings in America
I had the opportunity to serve as curator there for twenty years and
in celebration of the museum’s milestone I’d like to share a memorable discovery in the collection
In 2007 we organized an exhibit called “Artspeak Demystified” that displayed both the front and back sides of the paintings and frames
guests were invited to analyze clues to the painting’s ownership history (or provenance) that remain on the object
One work was a beautiful High Renaissance scene of the Madonna and child with John the Baptist called “Madonna del Lago.” Marco d’Oggiono
painted it in the early 1500s as an extremely rare faithful contemporary copy of one of his famous teacher’s lost masterpieces
The earliest ownership known for the painting was an early 20th-century art dealer in Paris
known by a wax seal on the back stamped “Galerie Brunner Paris.” Another clue was an old piece of paper with a handwritten note saying
“Cesare da Sesto; Countess of Harri…” The remaining letters on the note are obscured and the rest is torn off
leaving it unclear which Countess the note is referring to
Cesare da Sesto was a student of Leonardo da Vinci
This means that the painting was attributed to da Sesto (rather than d’Oggiono) when it was owned by the Countess
I sent a photo of the notation to a colleague at Sotheby’s who is more familiar with the nobility of England
He believed that the partial note referred to the Countess of Harrington
who has documents showing she owned a painting by Cesare da Sesto in the 19th century
I next researched to find the sale of the Harrington’s possessions at auction to see if the “Madonna del Lago” was listed
A 1917 Christie’s auction of the Earl of Harrington’s possessions was discovered which listed a painting by Cesare da Sesto exactly matching M&G’s painting
the auction entry provided an additional crucial clue to its earlier ownership — a notation stating
“Formerly in the Collection at Malmaison.” The Malmaison châteaux was a country retreat for a very significant world leader — Napoleon Bonaparte and his wife
It was their favorite residence and one in which Josephine loved to fill with art
some of which were spoils from Napoleon’s conquest of Europe
After the couple divorced in 1809 (she could not supply him an heir to the throne)
Josephine continued to live in Malmaison until her death in 1814
I found an inventory of her possessions made in 1814 listing a “Madonna and Child with St
John the Baptist” by Cesare da Sesto with dimensions corresponding to M&G’s painting
Greenville has had this remarkable painting since 1956
but it wasn’t until 2006 that it became known it once belonged to one of the most recognizable historical figures the world has ever known
this painting and many more of the masterworks can soon be on display in downtown Greenville with the museum’s planned new location
John M. Nolan is owner of Greenville History Tours (greenvillehistorytours.com) and author of “A Guide to Historic Greenville, SC” and “Lost Restaurants of Greenville, SC.”
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Given its sheer size and location, the redevelopment of County Square is one of the biggest — and the most important — developments in Greenville’s recent history.
“Sometimes, when you have a small piece of land and it doesn’t work out as intended, you can overcome that. With bigger sites, if you don’t get it right, there’s a lot more at stake,” said Nancy Whitworth, the City of Greenville’s deputy city manager. “With this site and its sensitivity to the park and downtown, it’s critical to get this one right.”
The county-owned property is more than 37 acres, equivalent in size to downtown Greenville’s core, and located within walking distance of Falls Park, Fluor Field, and the Greenville Health System Swamp Rabbit Trail.
“There are a lot of moving parts, and we’ve got to make sure to get it right,” said Greenville County Council Chairman Butch Kirven. “We’ve got the team to do that.”
Two decades ago, County Square was not thought of as a part of Greenville’s downtown. But Falls Park opened in 2004 and Fluor Field two years later. In between, planning started for the Swamp Rabbit Trail, a 22-mile multiuse trail that opened in 2009.
“Now, it’s intricately linked,” Whitworth said.
Because the former mall that now houses county operations will be torn down, the developer and the county have a wonderful opportunity to design from the ground up, said Barry Nocks, professor emeritus of city and regional planning at Clemson University and former member of the city’s planning commission and Design Review Board.
“In a way, it could make a new town area,” he said. “They have the opportunity to be creative and efficient, and make it an important part of Greenville. With Main Street and the West End, it could create a triangle of activity.”
“Any time you double or triple the density of activities, it’s going to strain existing capacities,” he said. “They’ll have to have other ways to get there so you don’t have to get in a car. They’ll need to think carefully about the back streets. They need to make it attractive and feasible to walk with site lines and well-defined walking routes.”
Whitworth, who said the city hasn’t had discussions with the developer, said the city will be interested in how the development’s design will minimize impacts on traffic. The city will also look at other elements like parking, green space, and how trash is picked up. The development will likely require a zoning change, she said.
“County Square is a 360-degree site. It faces Church Street, the park, the Governor’s School, and Haynie-Sirrine,” she said. “There’s no opportunity to back-door anything.”
Kirven said County Square is more than an extension of downtown.
“It’s a test bed to demonstrate how the future looks in an urban environment,” he said. “It’s a clean slate where we can design and create a smart urban environment for the future. This is going to be evolutionary.
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Nearly two decades after the idea for a Cancer Survivors Park grew from a high school senior project to beautify an area outside a local cancer treatment center, Greenville Cancer Survivors Park will hold its grand opening this weekend.
A public ribbon cutting will be held at 11 a.m. Friday, June 1. “The Dedication to a Vision of Hope and Healing” will feature community leaders sharing the story about the creation of the park and plans for the Center for Hope & Healing, a space for community celebrations and survivorship programs. The ceremony will include recognition of the Greenville Health System, the David Cline family, and other contributors who made the park possible.
A ticketed event, “The Garden Party,” will be held from 6 p.m. to 9 p.m. Saturday, June 2. The fundraising soiree will feature music by Trey Francis, food by Chef 360 Catering, and beverages by Uptown Pour Co.
Guests at the party will be able to walk through the park and hear stories about the design and meaning, and watch artists in action. Tickets are $125 and are available at cancersurvivorspark.org/the-garden-party.php. Proceeds will benefit the Cancer Survivors Park Alliance’s education programs.
A free Cancer Survivors Day Celebration will be held at the park from 1 p.m. to 4 p.m. Sunday, June 3. Activities include walking tours of the park, yoga classes, arts and crafts, children’s activities, an art display, and light refreshments. A survivors recognition ceremony and photo are set for 2:32 p.m. atop the Celebration of Hope Pavilion. Registration is requested but not required.
“We are excited to be celebrating a significant milestone — the transformation of a challenged piece of property into a beautiful park. We still have much to do as we transition from bricks and mortar to a focus on incorporating the creative features, programs, and resources that are the essence of our vision — creating a space for hope and healing,” said Kay Roper, executive director of the Cancer Survivors Park Alliance.
As the functions of parks grow more complex, public-private partnerships have increased as a funding source.
Greenville’s Unity Park is an example of many of the current trends in building urban parks — a greater reliance on public-private partnerships, the conversion of postindustrial sites into green space, the reclamation of rivers and waterfronts, and construction of facilities that accommodate fluctuation in water levels to help water quality and flooding issues.
“Parks are no longer simply places for recreation. They’re more complex than they used to be. That’s why public-private partnerships are so important,” said Catherine Nagel, executive director of City Parks Alliance. “Really where public-private partnerships shine is that they bring in more resources and skills.”
While Greenville has been known for public-private partnerships for downtown development projects such as the Hyatt, RiverPlace, and the baseball stadium, Mayor Knox White said Unity Park is the city’s first example of a true public-private partnership on a park.
The city has earmarked $20 million in hospitality tax revenue for the new park over 10 years and wants private partners to contribute another $20 million, White said. Separate from the city’s fundraising efforts is one led by Community Journals’ chairman and co-founder Doug Greenlaw to raise money for a veterans memorial in the park. Greenlaw is a founder of the Upstate charter of the Military Order of the Purple Heart.
“Public-private partnerships have become a critical funding tool in the toolbox,” said Kevin O’Hara, vice president of urban and government affairs for the National Recreation and Parks Association. “There are pluses and minuses, but overall, public-private partnerships are good for parks.”
Chicago’s Millennium Park was a result of a public-private partnership. Mayor Richard Daley originally proposed construction of a parking garage with a landscaped greenroof on land that had been parkland, Illinois Central rail yards, and parking lots. The original plan financing called for $120 million from parking revenue bonds and $30 million from private resources.
By the time the park opened in 2004, plans for the park had changed drastically. A cycle center provides heated bicycle parking, showers, and lockers for commuters. The Cloud Gate Sculpture, nicknamed “The Bean,” was installed. There are outdoor art galleries and a promenade. There’s a garden, a plaza with an ice rink, and the Pritzker Pavilion that hosts the Grant Park Musical Festival. Underneath the park is a 4,000 space parking garage.
In all, the city provided $270 million in funding. Private donors added another $220 million. Last year, the park was the Midwest’s most popular tourist attraction.
There’s a wide range of how park public-private partnerships are structured, Nagel said. Some focus on a single park. Others take over design and management.
“There’s a real range of public-private partnership models to consider,” she said. “The key is to fit the model to your community. Some cities have a strong base of philanthropic organizations. Some don’t.”
“Parks are helping to revitalize cities and put them on the map,” Nagel said. “It’s exciting that those projects are not just happening in the largest cities but in medium and small cities as well.”
Our feeder team almost made it back-to-back victories at the prestigious race.
Federico Savino came agonizingly close to becoming the first Italian in five years to take the victory at the Piccolo Il Lombardia, mere centimeters separating the 20-year-old from what would have been his second success of the season, after the one in Grote Prijs Stad Halle.
Starting and finishing in Oggiono, this 96th edition came to life on Madonna del Ghisallo, where the peloton split following a series of strong attacks. Soudal Quick-Step Devo Team was in the first group that went clear with two riders, Gauthier Sevranckx and Federico savino, the latter booking a place in what turned out to be the winning move, which went clear on Muro dell’Alpino, a short but incredibly steep climb.
“I have mixed feelings about today, because for a moment there, I thought I that had won, which would have been amazing, but then, to find out I was actually second just before the podium ceremony was disappointing. On the other hand, I will try to keep my chin up and look on the good things of today, such as feeling strong the entire race and being in the top three for my team, who believed and supported me”, said Federico after the finish.
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Today the museum is closed
On the occasion of Leonardo da Vinci’s 500th anniversary (1452 -1519)
Castello di Rivoli Museum of Contemporary Art presents two major artworks from the Cerruti Collection of Castello di Rivoli: Madonna col Bambino (Madonna and Child
1516 ca.) by Italian Renaissance painter and Leonardo’s chief pupil
and Senza titolo – La Gioconda (Untitled -The Mona Lisa
Drawing from d’Oggiono’s and De Dominicis’ artworks
the exhibition curated by Laura Cantone and Fabio Cafagna – art historians of Cerruti Collection at Castello di Rivoli-
sheds light on Leonardo’s legacy and the uninterrupted fortune of his work
From the lasting influence on his followers to contemporary revivals
Leonardo’s work is undoubtedly an icon to which contemporary artists still refer
The painting Madonna and Child is an important work by artist Marco d’Oggiono
It depicts the Virgin Mary gently holding Jesus while they gaze at each other in an intimate gesture
The pale flesh tones of the Child and the warm colors of the Virgin’s apparel allow the figures to stand out against the black panel
The artist enriches the sophisticated entanglement of tones – made of the reddish garment and the orange mantle with its aquamarine inner lining – by posing a transparent veil with subtle embroidered-like gleams of gold on the Virgin’s forehead
The overall composition pays homage to the Hermitage Museum’s Madonna Litta (1490 ca.)
whose authorship the museum of Saint Petersburg attributes to Leonardo
albeit some Italian scholars attribute it to Giovanni Antonio Boltraffio or Marco d’Oggiono himself
Although the Madonna Litta iconography had a huge resonance for d’Oggiono
is the most refined among the existing versions preserved
The painting Untitled (Mona Lisa) of 1992 is part of a series of large drawings on poplar wood panel begun in the late 1980s by Gino de Dominicis
taking its cue from the enigmatic character of Leonardo’s Mona Lisa
the artist moved from early conceptual and performative artistic practice to a later interest in the understanding of painting and installation
Both in his early and late artistic periods
de Dominicis was reluctant to embrace the phenomenology of embodied experience typical of the artists of his time; rather
he was in favor of exploring a cosmic vision of immortality which could transcend time and space
This is a principle the artist perceived in Leonardo’s Mona Lisa
whose traits are dissolved into pure archetype: the artist depicts faces of distant beauty and exhausted grace
and their elusive features seem to echo inner worlds
de Dominicis creates a line of continuity with the past history of art
albeit quite discretionary: from the Picasso’s gigantic figures to Leonardo’s sfumato technique
In the painting presented in this exhibition
the ambivalent expression on Mona Lisa’s three-quarter profile
Obtained through a thick use of pencil and charcoal
the chiaroscuro is well defined on the chin to then being merely perceptible on the rest of the panel
where the wood grain itself becomes expressive
Madonna and Child by Marco d’Oggiono and Untitled (Mona Lisa) by Gino de Dominicis have been respectively examined by Jacopo Tanzi and Fabio Belloni
whose critical contributions will be featured in the forthcoming comprehensive catalog of the Cerruti Collection
which will be published by Umberto Allemandi Editore in late 2019
As an additional major event to be confirmed
Director of Castello di Rivoli Museum of Contemporary Art and of the Cerruti Foundation
Carolyn Christov-Bakargiev will contribute to the exhibition by drafting a dialog between the two artworks from the Cerruti Collection and a third surprise artwork to be announced shortly
This contribution will stem from her considerations around “the questionable art historical and market assessment of Leonardo’s work in the digital age – pivoting on scientific culture rather than the humanistic
on a rampant informational accelerationism in the digital age
on a difficulty to define provenance and determine authorship of artworks
as well as on a visceral interest in canonical masters of the history of art
Leonardo da Vinci above all.” (Christov-Bakargiev)
info@castellodirivoli.org T +39 011.9565.222 Piazza Mafalda di Savoia 10098 Rivoli - Torino
from Wednesday to Friday10:00 AM - 05:00 PM
There is a 400-year-old tradition in the popularity of publications related to Leonardo da Vinci during years of his birth and death anniversaries, though the number of Leonardo-related publications between late 2018 and December 2019 surpasses the number in all previous anniversaries combined. At least 250 books in European languages have been published during this period, most of which are potentially in association with Leonardo’s 500th death anniversary.
Matthew Landrus’s bookcase heaves with the recent additions to the vast canon of Leonardo publications
Leonardo’s Star of Bethlehem (1506-08) is in the Louvre’s current show Royal Collection Trust/© Her Majesty Queen Elizabeth II 2019
This period of publishing can be summarised as the most prolific year of Leonardo scholarship, noteworthy for interesting approaches to Leonardo’s way of thinking.
• Matthew Landrus is a Supernumerary Fellow at Wolfson College and the Faculty of History at the University of Oxford. He has published widely on Leonardo, including Leonardo da Vinci, 500 Years On (2018)
Presse /universitaires de Rennes, 275pp, £26 (hb)
archive30 June 2003Books: Leonardo as larger-than-life, but also humanTwo studies of the Renaissance artist’s works reveal divergent assumptions about interpretation
In art history, “Leonardesque” painters are defined as those painters who studied together with Leonardo da Vinci (Vinci
1519) or whose art looked to that of the great Tuscan genius
They were a group of artists active in Milan (where Leonardo spent the longest period of his artistic career: seventeen years
and who spread his language throughout the region and northern Italy
The Leonardeschi included such sure direct pupils of Leonardo as Francesco Melzi
Gian Giacomo Caprotti known as the Salaì (more on this artist here)
and Giovanni Antonio Boltraffio; artists whose training we have little information about
but who we can assume were part of Leonardo’s circle
Giovan Pietro Rizzoli called the Giampietrino and Francesco Galli called the Napoletano; artists who
although they were not Leonardo’s pupils
Giovanni Agostino da Lodi.Many of the most interesting masterpieces of the Leonardeschi are concentrated in and around Milan: for this new article in our “Five places to visit in two days” format
we suggest five museums in the Lombard capital where it is possible to admire some of the main works of the Leonardeschi in order to have firsthand experience of their art
what characteristics separated the pupils from the master
and the artists of the circle from their colleagues
this is not an exhaustive and complete itinerary
because there are also other museums (as well as churches and palaces
of course) where one can admire works no less important than the Leonardeschi
But for this episode we focus on the museums
and we will still get to see other places that hold their masterpieces
while the other two are the refectory of Santa Maria delle Grazie where theLast Supper can be admired and the Pinacoteca Ambrosiana
which instead preserves the Ritratto di musico
The Pinacoteca del Castello Sforzesco also houses some of the most interesting works by the Leonardeschi: among these
Marco d’Oggiono’s Madonna and Child
John and the Angel by Marco d’Oggiono
the Marriage at Cana by Marco d’Oggiono
and even some roundels by the elusive Master of the Pala Sforzesca
a Leonardo for whom no name has yet been found
the Pinacoteca Ambrosiana preserves one of the rare paintings by Leonardo da Vinci still in Milan (as well as the only movable painting)
but the museum that was formed from the collection of Federico Borromeo houses many important paintings: it is in fact the place that preserves the only work that can be attributed with a good margin of certainty to Salaì
which became part of the museum’s collection very recently
following a donation (and also to Salaì is traditionally attributed a Saint John the Baptist for which
the most recent orientations of critics are inclined to formulate the hypothesis of an unknown Leonardo)
The Pinacoteca also preserves several works by Bernardino Luini
including the famous Sacra Famiglia con sant’Anna e san Giovannino that belonged to Cardinal Borromeo and which
was requisitioned by Napoleon’s troops and taken to France
only to return in 1815 (to learn about Luini’s work
Also present is a Portrait of a Lady by De Predis
in addition to being one of Italy’s major museums
is also a true temple of Leonardo’s painting
because almost all the artists who looked to Leonardo are represented here
One of the most spectacular passages in the museum concerns a Leonardo: it is the room where the detached frescoes that Bernardino Luini executed for the chapel of the Nativity of the Virgin in the church of Santa Maria della Pace in Milan are displayed
Room XI of the Pinacoteca also exhibits the Pala Sforzesca from which critics have formulated the name Maestro della Pala Sforzesca to indicate its unknown author
among the masterpieces of the Leonardeschi preserved in Brera
Giovanni Andrea Boltraffio’s Madonna of the Carnations
Marco d’Oggiono’s Three Archangels
Cesare da Sesto’s Madonna of the Tree
Bernardino Luini’s Madonna of the Rose Garden
and Marco d’Oggiono and Giovanni Agostino da Lodi’s Baptism of Christ should certainly be mentioned
The Poldi Pezzoli Museum also preserves a conspicuous Leonardo nucleus
the via Manzoni institution also holds several Renaissance textiles with Sforza exploits (although for conservation reasons they are not always displayed)
a visit to the Poldi Pezzoli is important to know the context of the Sforza court
in which all the artists of Leonardo da Vinci’s circle worked for a long time
the Poldi Pezzoli also has what is perhaps very direct evidence of Leonardo’s workshop
a small bronze depicting a Warrior with Shield that scholars think may be a sketch for the equestrian monument to Francesco Sforza that was commissioned from Leonardo by Ludovico il Moro (the genius
there are some very significant paintings in the museum: the Madonna and Child by Giovanni Antonio Boltraffio
Visiting the Diocesan Museum in Milan means getting an idea of the works of the Leonardesque painters who populated the city’s churches
the institute in Piazza Sant’Eustorgio holds two very interesting paintings: the first is one of Giampietrino’s works closest to Leonardo da Vinci
a work that Giovan Pietro Rizzoli made based on a model by the master
documented by a drawing from around 1490 preserved in the Gallerie dell’Accademia in Venice (Giampietrino’s work
dating from a period when he began to study the master’s works with new vigor)
The second is instead an altarpiece from the last phase of Marco d’Oggiono’s activity
Saint Bernardine of Siena and Saint John of Capestrano
which the artist executed with the example of the Virgin of the Rocks in mind.