A coffee with Art

Giuseppe Maria Crespi is the crossroads of different stimuli: Roman and Emilian seventeenth century, Venetian school, Neapolitan school and Flemish-Dutch tradition. Everything, well mixed, creates the unique and personal style of this Bolognese master. A very intense and expressive light. The silent dialogue of the figures engaged in this representation. Following the dictates of the Counter-Reformation, San Giuseppe must be given new visibility and importance; his whole family is present and Christ blesses him ... even if nothing is said about him after the infancy of Christ.

Peter BLAKE - On the balcony (1955-1957)

On the balcony 1955-1957 Oil painting on canvas (121x91 cm) Tate Gallery, London ******* The figures sitting on a park bench are surrounded by four paintings by some of Blake's companions and various commercial objects, including packets of cigarettes, newspapers and food packages. The structure of the painting is very simple and the attention to perspective is somewhat lacking; the real interest is to be found in the attention to the representation of the objects, which are the most important elements of the composition. At the time of its creation it was considered Blake's masterpiece for its strong visual impact and now communicates the full sense of cultural growth in the 1950s, putting the observer in front of a messy crowd of popular images. This representation of commercial objects paved the way for another great artistic movement: Pop Art. In the 1970s, Blake moved towards a more naturalistic style and by 1975 he also became a founding member of the Brotherhood of Rur

Antonello da Messina - Saint Jerome in the study (about 1475-1476)

Saint Jerome in the study about 1475-1476 Oil painting on canvas (46x36,5 cm) National Gallery, London ******* A work that plays on our strong desire as a voyeur. The invitation to look through the open window directly into St. Jerome's studio is explicit and pleasantly accepted. Nobody seems to notice us, but a shadow observes us on the right: the lion has noticed us. Antonello da Messina showcases the Dutch influence: the books on the shelves, the tiles on the floor, the birds on the windowsill and the presence of light; all presences that seem to recall the paintings of Robert Campin and Jan van Eyck. The author's biography does not allow us to reconstruct possible and eventual trips to Northern Europe but the influence that is denoted in his art demonstrates a profound knowledge of the pictorial techniques of those places. Some historians would like Antonello da Messina to have been a direct and personal pupil of Van Eyck, learning his "secret method" and introd

Jan van Eyck - Madonna of Chancellor Rolin (c. 1434)

In a single work Jan van Eyck has inserted a universe of Beauty and luxury. From the floor, to the walls and windows, from the fabrics to the view. Not to mention the crown of the Virgin. Accuracy is incredible. A masterpiece, simply.

Bernardo BELLOTTO - View of the Ponte delle Navi, Verona (about 1745)

View of the Ponte delle Navi, Verona about 1745 Oil painting on canvas (132x233,5 cm) Private collection ******* La veduta è di una precisione impressionante e il nostro occhio è invitato ad osservare il realismo delle superfici intonacate e con i mattoni a vista sotto il cielo brillante di Verona. Il virtuosismo di questo quadro è un chiaro testimone del fatto che Bernardo Bellotto ha appreso l'Arte della pittura alla bottega dello zio, Canaletto, apprendo a tal punto la sua tecnica da rendere spesso difficile riconoscere le opere dell'uno e dell'altro; situazione peggiorata dal fatto che spesso Bellotto firmava le sue opere come Canaletto. Una differenza sostanziale tra l'arte dello zio e del nipote esiste: le sue opere sono più fresche e pungenti con un maggior interesse per le nuvole e il fogliame. Un'altra grande differenza è da ricercarsi nel numero di persone presenti nelle opere: Canaletto inseriva molte meno figure umane rispetto al nipote Bellotto. Nel 1

Leonardo Da Vinci (attr.) - Madonna Litta (1490-1491)

Leonardo is still a prestigious name that ennobles any collection, not that the Hermitage needs it, to be honest. The world is divided, Leonardo yes, Leonardo no. It is probably a no, because he seems too much a pupil, a good but still pupil. Leonardo lacks the ability to mix everything without detaching the figures too much, the light with the shadows and the various planes.

Andrea Del Sarto - Madonna and Child with Saints (1519)

A Sacred Conversation that fully respects all composer rules. A nice group of figures interacting with each other. San Giovannino shows us, Saint Elizabeth and the Virgin speak to each other and seem to forget their respective children. St. Catherine silently invites us to reflect on the scene and its meaning. Leonardo feels like a distant echo, but he is present.

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