{"id":10321,"date":"2023-09-04T11:19:50","date_gmt":"2023-09-04T09:19:50","guid":{"rendered":"http:\/\/bollettinodarte.cultura.gov.it\/?page_id=10321"},"modified":"2023-11-07T11:50:55","modified_gmt":"2023-11-07T10:50:55","slug":"giacomo-montanari-tomaso-orsolino-tra-pavia-e-la-certosa-1628-1635-precisazioni-cronologiche-e-nuovi-spunti-per-il-ruolo-di-ercole-ferrata","status":"publish","type":"page","link":"https:\/\/bollettinodarte.cultura.gov.it\/?page_id=10321","title":{"rendered":"Giacomo Montanari: Tomaso Orsolino tra Pavia e la Certosa (1628\u20131635). Precisazioni cronologiche e nuovi spunti per il ruolo di Ercole Ferrata"},"content":{"rendered":"<div align=\"justify\">\n<p><strong>Estratto dal fascicolo 44 (ottobre-dicembre 2019)<\/strong><\/p>\n<p style=\"font-weight: 400;\">Tomaso Orsolino, nato a Ramponio in Val d\u2019Intelvi, ma operante a Genova, ha preso parte, a partire dal 1628, ad alcuni dei pi\u00f9 importanti cantieri scultorei del primo Seicento lombardo. Questo contributo mira a mettere ordine all\u2019interno della produzione dello scultore per la Certosa di Pavia. Indaga con maggiore attenzione le numerose opere eseguite dall\u2019artista per l\u2019importante monastero, in particolare tra l\u2019arrivo in Lombardia (documentato con certezza al 1628) e la prima met\u00e0 degli anni Trenta del secolo. Le relazioni strette con la grande pittura lombarda sono il filo sotteso all\u2019evoluzione stilistica di quello che fu senza dubbio (nonostante la sfortuna critica vissuta anche in tempi recenti) uno dei principali attori della tarda maniera, in \u201codore\u201d del nuovo linguaggio barocco, in terra lombarda. Non \u00e8 un caso se, proprio da quella bottega cos\u00ec prolifica, emerse l\u2019estroso scalpello di Ercole Ferrata, del quale \u2013 in questo lavoro \u2013 si provano ad individuare alcune delle prime tracce autonome precedenti il viaggio napoletano.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400; text-align: center;\"><strong>Tomaso Orsolino between Pavia and Certosa (1628\u20131635):<\/strong><br \/>\n<strong>a more accurate chronology and new clues as to the role of Ercole Ferrata<\/strong><\/p>\n<p style=\"font-weight: 400;\">Though he worked in Genova, Tomaso Orsolino was born in Ramponio in the Val d\u2019Intelvi. From 1628 onwards he worked on some of the most important sculptural projects of early seventeenth century Lombardy. This paper hopes to sort out the order in which the sculptor produced his works for the Certosa of Pavia. It looks in greater detail into the numerous works that the artist produced for the important monastery. The focus is on the period between 1628, when we know for sure that he arrived in Lombardy, and the middle of the 1630s. The close ties to the greats of Lombardy painting are the underlying thread in the stylistic evolution that was without a doubt one of the main players of the later fashion, a \u201csniff\u201d of the new Baroque language in Lombardy. This is in spite of the critical misfortunes it has witnessed even up to recent times. In such a prolific workshop, it\u2019s no surprise that Ercole Ferrata\u2019s deft chisel was to emerge. This paper hopes to reveal some of those first traces of his independent work, prior to his move to Naples.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Estratto dal fascicolo 44 (ottobre-dicembre 2019) Tomaso Orsolino, nato a Ramponio in Val d\u2019Intelvi, ma operante a Genova, ha preso parte, a partire dal 1628, ad alcuni dei pi\u00f9 importanti cantieri scultorei del primo Seicento lombardo.<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-10321","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/10321","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10321"}],"version-history":[{"count":3,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/10321\/revisions"}],"predecessor-version":[{"id":12465,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=\/wp\/v2\/pages\/10321\/revisions\/12465"}],"wp:attachment":[{"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10321"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10321"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bollettinodarte.cultura.gov.it\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10321"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}