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Bartolomeo Colleoni: un condottiero a cavallo di due lagune

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Mazzini M.

Italica Wratislaviensia

2021

issue 12.1

197-214

This article begins by broadly examining the history of the emergence and subsequent evolution of equestrian monuments, in both their commemorative and celebratory functions. Then, the article seeks to reconstruct the events leading to the construction of the mounted monument of Bartolomeo Colleoni, designed by Andrea del Verrocchio, and of the creation of its replica, still present in Szczecin, ordered in the early years of the 20th century for the inauguration of the City Museum. The aim of the article is to present certain parallels in the destinies of the two artworks, both of which have fallen victim to politically motivated manipulations that result from efforts to “domesticate” the monument and erase traces of foreign influence upon the city. The origins of the very concept of equestrian monuments reach as far back as ancient times, while their sculptural typology encompasses art from geographically distant cultures, ranging from Europe to the Far East. In the Medieval period, the function of such monuments began to gradually shift, evolving from a commemorative and mnemonic one—related to funeral ceremonies and located in the burial places of the person immortalised in the sculpture itself—towards a more celebratory one, thus concluding a cycle that had begun in Antiquity. Throughout the Modern period, the monuments represented personas of the past characterised by particularly outstanding charisma and surrounded by an aura of virtue—personas that would embody the values propagated by the mercantile-focused bourgeoisie, as was the case with Szczecin’s statue of Colleoni.

Dopo aver ripercorso a grandi linee le vicende della nascita e dello sviluppo del monumento equestre, nelle sue funzioni commemorativa e celebrativa, l’articolo ricostruisce le fasi che portarono alla realizzazione della statua a cavallo veneziana dedicata a Bartolomeo Colleoni, su progetto di Andrea del Verrocchio, e della sua copia tuttora esistente a Stettino, ordinata nei primi del Novecento per l’inaugurazione del Museo Civico. Lo scopo è quello di dimostrare l’esistenza di un certo parallelo nel destino delle due opere, entrambe vittima di manipolazioni di tipo politico, incentrate sulla volontà di “addomesticare” l’opera d’arte e cancellare le tracce dell’influsso straniero sulla città. Le origini del monumento equestre sono antichissime e tale tipologia scultorea contraddistingue culture anche geograficamente lontane, dall’Europa all’estremo oriente. Nel Medioevo la sua funzione cambia progressivamente, evolvendosi da quella commemorativa, legata alla cerimonia funebre e al luogo di eterno riposo della figura rappresentata verso quella celebrativa, chiudendo così quel ciclo che si era aperto nell’Antichità. In epoca moderna, personaggi del passato, dotati di particolare carisma e avvolti da un’aura di virtù, potevano incarnare i valori propugnati dalla borghesia mercantile, come nel caso del Colleoni stettinese.

Czy artyście wolno być przestępcą? Kilka pytań bez odpowiedzi

70%

Giżycki M.

Kwartalnik Filmowy

2021

issue 113 Film i technologia

232-242

Czy mamy bojkotować ważne filmy dlatego, że ich autorom/autorkom coś się zarzuca? Czy mamy poddawać ostracyzmowi dzieła artystów/artystek, którzy w pewnym momencie swojego życia opowiedzieli się po stronie zbrodniczych reżimów? Czy mamy usuwać pomniki z przestrzeni publicznych, bo powstały w niesłusznej sprawie, nawet jeśli są ważne z punktu widzenia historii sztuki? Czy można oceniać wartość dzieł sztuki przez pryzmat życia ich twórców/twórczyń. Te i podobne pytania zadaje autor i pozostawia je bez odpowiedzi, przypominając, że już Roland Barthes pisał, iż ukończone dzieło odrywa się od autora i zaczyna żyć własnym życiem.

Should we boycott important films only because their authors have been accused of some misconduct? Are we to exclude works of artists who at some point sympathized with criminal regimes? Are we to remove monuments from public spaces because they served a wrong cause, even if they occupy an important place in the history of art? Should the value of a work of art be judged in the light of its creator’s life? The author asks these and similar questions and leaves them unanswered. He evokes, though, Roland Barthes’ idea that once completed, the work detaches itself from the author and starts its own life.

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1 Italica Wratislaviensia

1 Kwartalnik Filmowy

1 Giżycki M.

1 Mazzini M.

2 2021

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Bartolomeo Colleoni: un condottiero a cavallo di due lagune

Czy artyście wolno być przestępcą? Kilka pytań bez odpowiedzi