DOI Artikel:
Mazurczak, Urszula M.: Krajobrazy Ambroggia da Fossano zw. Bergognone: znaczenie tradycji w obrębie nowych rozwiązań kompozycyjnych
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.27413#0086
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URSZULA MAZURCZAK
12. Maria z Dzieciątkiem, św. Katarzyną sieneńską i Kartuzem. Turyn, Gal.
Sabauda.
13. Jan van Eyck. Petrus Christus. Maria z Dzieciątkiem, św. Elżbieta Turyńska,
św. Barbara, przeor Kartuzów Jean de Vos. Nowy Jork, Kol. Fricka.
14. Św. Ambroży z cesarzem Teodozjuszem. Bergamo, Accademia Carrara.
15. Giovanni Benedetto da Como Libro d’Ore. Modena, Bibl. Estense.
16. Maria z Dzieciątkiem. Mediolan, Muséum Poldi-Pezzoli.
17. Santa Maria del Navigolo Mediolan. Fot. U. Mazurczak.
17/a Navigolo, Grande Mediolan. Fot. U. Mazurczak.
18. Maria z Dzieciątkiem. Kol. Prywatna.
19. Nawiedzenie św. Elżbiety. Lodi, kościół Santa Maria Incoronata.
20. Madonna del late. Bergamo, Accademia Carrara.
20a. Detal.
21. Cykl apostołów i świętych. Mediolan, freski w zakrystii Santa Maria della
Pasione. Fot. U. Mazurczak.
22. Święci Ludwik Francuski i Bartłomiej. Bergamo, Accademia Carrara.
23. Maria z Dzieciątkiem i świętymi, Krzysztofem i Jerzym. Poznań, Muzeum
Narodowe, Zbiory Raczyńskich.
24. Zesłanie Ducha Świętego. Bergamo, Kościół Santo Spirito. Fot. U. Mazurczak.
25. Koronacja Maryi. Fresk. Absyda transeptu Certosa di Pavia.
26. Koronacja Maryi. Mediolan, fresk. Absyda kościoła San Sempliciano. Fot.
U. Mazurczak.
LANDSCAPES BY AMBROGGIO DA FOSSANO CALLED BERGOGNONE
THE MEANING OF TRADITION
WITHIN THE PAINTER’S NEW COMPOSITION SOLUTIONS
S u m m a r y
Ambroggio da Fossano, a Milan painter, Vincenzo Foppo’s disciple, connected with
Carthusia in Pavia, belonged to the leading artists of the Lombardie Renaissance. The subject-
matter of his works was defined by the circles connected with the Sforza court as well as by
those in Carthusia. The problem of tradition or innovation that is often raised in the literaturę
concerning the painter often refers to the opposition of the Middle Ages and the Renaissance.
Traditionalism in Lombardy derived its contents from the local art of the late Gothic period,
and in painting it also introduced éléments of the Netherlandic painting that came to Italy via
Genoa. However, there are the painter’s original solutions that are concerned both with the
contents and the form of his works. The notions of tradition and innovation as terms left by
the 14th century history of art did not exist in the court art, especially sponsored by the
Sforzas.
Ambroggio’s landscapes reveal three main types of composition, to different degrees
referring to the reality of the area, although they are not a truthful record of the landscape.
URSZULA MAZURCZAK
12. Maria z Dzieciątkiem, św. Katarzyną sieneńską i Kartuzem. Turyn, Gal.
Sabauda.
13. Jan van Eyck. Petrus Christus. Maria z Dzieciątkiem, św. Elżbieta Turyńska,
św. Barbara, przeor Kartuzów Jean de Vos. Nowy Jork, Kol. Fricka.
14. Św. Ambroży z cesarzem Teodozjuszem. Bergamo, Accademia Carrara.
15. Giovanni Benedetto da Como Libro d’Ore. Modena, Bibl. Estense.
16. Maria z Dzieciątkiem. Mediolan, Muséum Poldi-Pezzoli.
17. Santa Maria del Navigolo Mediolan. Fot. U. Mazurczak.
17/a Navigolo, Grande Mediolan. Fot. U. Mazurczak.
18. Maria z Dzieciątkiem. Kol. Prywatna.
19. Nawiedzenie św. Elżbiety. Lodi, kościół Santa Maria Incoronata.
20. Madonna del late. Bergamo, Accademia Carrara.
20a. Detal.
21. Cykl apostołów i świętych. Mediolan, freski w zakrystii Santa Maria della
Pasione. Fot. U. Mazurczak.
22. Święci Ludwik Francuski i Bartłomiej. Bergamo, Accademia Carrara.
23. Maria z Dzieciątkiem i świętymi, Krzysztofem i Jerzym. Poznań, Muzeum
Narodowe, Zbiory Raczyńskich.
24. Zesłanie Ducha Świętego. Bergamo, Kościół Santo Spirito. Fot. U. Mazurczak.
25. Koronacja Maryi. Fresk. Absyda transeptu Certosa di Pavia.
26. Koronacja Maryi. Mediolan, fresk. Absyda kościoła San Sempliciano. Fot.
U. Mazurczak.
LANDSCAPES BY AMBROGGIO DA FOSSANO CALLED BERGOGNONE
THE MEANING OF TRADITION
WITHIN THE PAINTER’S NEW COMPOSITION SOLUTIONS
S u m m a r y
Ambroggio da Fossano, a Milan painter, Vincenzo Foppo’s disciple, connected with
Carthusia in Pavia, belonged to the leading artists of the Lombardie Renaissance. The subject-
matter of his works was defined by the circles connected with the Sforza court as well as by
those in Carthusia. The problem of tradition or innovation that is often raised in the literaturę
concerning the painter often refers to the opposition of the Middle Ages and the Renaissance.
Traditionalism in Lombardy derived its contents from the local art of the late Gothic period,
and in painting it also introduced éléments of the Netherlandic painting that came to Italy via
Genoa. However, there are the painter’s original solutions that are concerned both with the
contents and the form of his works. The notions of tradition and innovation as terms left by
the 14th century history of art did not exist in the court art, especially sponsored by the
Sforzas.
Ambroggio’s landscapes reveal three main types of composition, to different degrees
referring to the reality of the area, although they are not a truthful record of the landscape.