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#0087
KRAJOBRAZY AMBROGGIA DA FOSSANO ZW. BERGOGNONE
83
1. Présentation of Carthusia near Pavia that both as a foundation and the mausoleum of the
Sforzas’ court is shown in paintings with reiigious contents, e.g. Christ Carrying the Cross
and on the foundation fresco in the apse of the transept in the monastery church Certosa do
Pavia. Pictures of the Virgin Mary with Infant présent Carthusia in the background, too; it is
shown from the side of the monastery’s household buildings. In almost each of the paintings
the realism of the presented monastery with the church and palace serves a different meaning
that is defined by the foreground of the composition. Carthusia is a foundation document, and
by the very fact it is a testimony to the glory of the Sforza family. Carthusia also means the
Holy City - Jérusalem that, as a symbolic sign, is directly connected with mystic texts. One
of the most important texts that help one understand the pictures painted in the circle of
Carthusia is Vit a Christi by Ludolf of Saxony that was used by the monks as a subject of
méditations and contemplations. Carthusia is also the place where the Virgin Mary with Infant
appeared; her cuit was developed in the religiousness of the monastery. In such compositions
it is a place that visualizes the reality of the monastery household where the symbols devoted
to the cuit of the Virgin Mary are présent.
2. Présentation of the city as actual places with the court buildings, the church and the
canal, which allows identification with Milan of Ambroggio’s times. They are places selected
for events connected with St Ambrose’s life. Also pictures of the Virgin Mary with Infant
show the real look of the city that was the main metropolis of the then Europe. However, they
are not pictures of a real city but of its chosen fragments with the court or church architecture
connected with the Sforzas patronage. But the way space is presented reveals the painter’s
knowledge of the latest discoveries of the perspective and of création of events in space,
recommended by Alberti and Leonardo.
3. Présentation of the city suburbs with buildings belonging to rich suburban villas with
their manor furniture. The suburbs shown by Ambroggio as places for religious scenes hâve
extremely varied compositions and functions in the paintings. The terms ‘traditionalism’ and
‘innovation’ do not fuily characterize Ambroggio’s art.
Translated by Tadeusz Karłowicz
83
1. Présentation of Carthusia near Pavia that both as a foundation and the mausoleum of the
Sforzas’ court is shown in paintings with reiigious contents, e.g. Christ Carrying the Cross
and on the foundation fresco in the apse of the transept in the monastery church Certosa do
Pavia. Pictures of the Virgin Mary with Infant présent Carthusia in the background, too; it is
shown from the side of the monastery’s household buildings. In almost each of the paintings
the realism of the presented monastery with the church and palace serves a different meaning
that is defined by the foreground of the composition. Carthusia is a foundation document, and
by the very fact it is a testimony to the glory of the Sforza family. Carthusia also means the
Holy City - Jérusalem that, as a symbolic sign, is directly connected with mystic texts. One
of the most important texts that help one understand the pictures painted in the circle of
Carthusia is Vit a Christi by Ludolf of Saxony that was used by the monks as a subject of
méditations and contemplations. Carthusia is also the place where the Virgin Mary with Infant
appeared; her cuit was developed in the religiousness of the monastery. In such compositions
it is a place that visualizes the reality of the monastery household where the symbols devoted
to the cuit of the Virgin Mary are présent.
2. Présentation of the city as actual places with the court buildings, the church and the
canal, which allows identification with Milan of Ambroggio’s times. They are places selected
for events connected with St Ambrose’s life. Also pictures of the Virgin Mary with Infant
show the real look of the city that was the main metropolis of the then Europe. However, they
are not pictures of a real city but of its chosen fragments with the court or church architecture
connected with the Sforzas patronage. But the way space is presented reveals the painter’s
knowledge of the latest discoveries of the perspective and of création of events in space,
recommended by Alberti and Leonardo.
3. Présentation of the city suburbs with buildings belonging to rich suburban villas with
their manor furniture. The suburbs shown by Ambroggio as places for religious scenes hâve
extremely varied compositions and functions in the paintings. The terms ‘traditionalism’ and
‘innovation’ do not fuily characterize Ambroggio’s art.
Translated by Tadeusz Karłowicz