Dinheiro e beleza: Banqueiros, Botticelli e a Fogueira das Vaidades

Gold florin, 1252-1303, gold; diameter 2.03 cm; weight 3.4 g, Florence, Museo Nazionale del Bargello, Coins inv. no. 117.

De 17 de setembro de 2011
a 22 de janeiro de 2012
Palazzo Strozzi - Florença

Gold florin, 1252-1303, gold; diameter 2.03 cm; weight 3.4 g, Florence, Museo Nazionale del Bargello, Coins inv. no. 117.

Bill of exchange from Diamante and Altobianco degli Alberti to Francesco di Marco Datini and Luca del Sera,Bruges-Barcelona, September 2, 1398, sheet of paper; 73 x 224 mm. Prato, Archivio di Stato, b. 1145/1403803.

Jacopo di Cione, Niccolò di Tommaso, Simone di Lapo, Coronation of the Virgin, with St John the Baptist, St Catherine of Alexandria, St Anne, St Matthew, St Victor the Pope, St John the Evangelist, St Zanobius, St Barnabas, St Anthony the Abbot, St Reparata; the prophets Isaiah and Ezekiel (upper corners); coats of arms of the Florentine mint (on the predella), 1372-3, panel painting, 350 x 192.3 cm, Florence, Galleria dell’Accademia, 1890 inv. no. 456.

Obras-primas de Botticelli, Beato Angelico, Piero del Pollaiolo, a família Della Robbia, Lorenzo di Credi e Memling - a nata dos artistas da Renascença - mostram como o sistema bancário moderno, foi desenvolvido em paralelo com o florescimento artístico mais importante na história do mundo ocidental .

Tommaso di Piero Trombetto (Prato 1464-post 1527), Portrait of Francesco di Marco Datini, 1490, panel painting, 131 x 69 cm. Prato, Palazzo Datini.

Jan Provoost (Mons 1462-Bruges 1529), Death and the Miser, 1505-10, oil on panel, 119.7 x 78.5 and 119.8 x 78.8 cm, Bruges, Musea Brugge, Groeningenmuseum, inv. no. 0000.GRO0217.I-0218.1.

after Marinus van Reymerswaele (Reymerswaele c.1490-Middleburg, documented until 1567), The Usurers, c.1540, oil on panel, 100 x 76 cm, Florence, Museo Stibbert, inv. no. 4080.

Dinheiro e beleza. Banqueiros, Botticelli e a Fogueira das Vaidades.
Explora os vínculos entre esse entrelaçamento único da alta economia, finanças e arte, e as convulsões políticas e religiosas da época.

Marinus van Reymerswaele (Reymerswaele c.1490-Middelburg, documented up to 1567), The Money-changer and his Wife, 1540, oil on panel, 84 x 114 cm. Florence, Museo Nazionale del Bargello, Carrand Legacy, inv. 2058 C.

 

German artist (Nuremberg?) Balance for gold and gemstones owned by Hans II Harsdorf, 1497, wooden case covered with painted paper; iron; partially gilded silver; yarn (wire?) needlepoint pearl (?); case: 17.4 x 10.3 x 2.5 cm, height of bipartite rod (without base) 22.8 cm, diameter of scale pans 2 cm. Nuremberg, Germanisches Nationalmuseum, HG 11 161.

A exposição examina o nascimento do sistema bancário moderno e do boom econômico que provocou, proporcionando uma reconstrução da vida européia e da economia dos continentes a partir da Idade Média até a Renascença.

Francesco de Cesanis (active c.1420), Nautical Map, Venice, 1421, watercolour and ink on parchment, 58 x 96.6 cm, Venice, Museo Correr, Portolano no. 13, Emanuele Cicogna Legacy 3451.

Fra Angelico (Guido di Pietro, Fra Giovanni da Fiesole; Vicchio c.1395-Rome 1455), St Nicholas with the Emperor’s Envoy and The Miraculous Rescue of a Sailing Vessel, between 1437 and 1449, tempera and gold on panel, 34 x 63.5 cm, Vatican City, Musei Vaticani, inv. 40252.

Francesco Botticini (Florence 1446-97), The Archangel Raphael and Tobias with a Young Devotee, c.1485, tempera on panel, 156 x 89 cm, Florence, Soprintendenza Speciale per il Polo Museale, 1890, inv. no. 8676.

Hans Memling (Seligenstadt c.1435-94), Portrait of Benedetto di Tommaso Portinari (on the back, Oak Stump with Banderole) and St Benedict, 1487, oil on panel, 54.4 x 34.5 cm each. Florence, Galleria degli Uffizi, 1890 inv., nos. 1090 and 1100.

Os visitantes poderão mergulhar no cotidiano das famílias que controlavam o sistema bancário e perceber o embate  entre os valores espirituais e econômicos.

Cosimo Rosselli (Florence 1439-1507), Adoration of the Magi, c.1470, tempera grassa on panel, 101 x 217 cm, Florence, Galleria degli Uffizi, 1890 inv. no. 494.

Sandro Botticelli (Alessandro Filipepi, Florence 1445-1510): design; Florentine factory: embroidery, Hood of a liturgical cope showing the Coronation of the Virgin, 1490-95 , silk, gold and linen, 46.5 x 46.5 cm. Milan, Museo Poldi Pezzoli, inv. no. 444/155.

A história dos patronos de arte está intimamente ligada à dos banqueiros que financiaram os empreendimentos de príncipes e nobres da mesma forma e, de fato, foi essa mesma convergência que providenciou o clima no qual alguns dos principais artistas de todos os tempos puderam florescer .

Lorenzo di Credi (Lorenzo d’Andrea d’Oderigo, Florence, c.1460-1537), Portrait of a Young Woman or Lady with Jasmine Flowers, 1485-90, oil on panel, 77.2 x 55.2 x 2.2 cm. Forlì, Musei San Domenico, Pinacoteca civica, inv. no. 119.

Pietro Torrigiano (Florence 1472-Seville 1528), Bust of Lorenzo the Magnificent, 1515-20, polychrome terracotta, 80 x 80 x 40 cm. Florence, Liana and Carlo Carnevali.

German artist (Nuremberg?) Balance for gold and gemstones owned by Hans II Harsdorf, 1497, wooden case covered with painted paper; iron; partially gilded silver; yarn (wire?) needlepoint pearl (?); case: 17.4 x 10.3 x 2.5 cm, height of bipartite rod (without base) 22.8 cm, diameter of scale pans 2 cm. Nuremberg, Germanisches Nationalmuseum, HG 11 161.

Ludwig von Langenmantel (Michaelsberg 1854-Munich 1922), Savonarola Preaching Against Luxury and Preparing the Bonfire of the Vanities, 1881, oil on canvas, 193.04 x 312.42 cm, Olean, New York, St Bonaventure University, The Regina A. Quick Center for the Arts.

Filippo Dolciati (Florence 1443-1519), attribute, Execution of Girolamo Savonarola, 1498, tempera on panel, 38 x 58 cm. Florence, Museo di San Marco, 1915 inv. no. 479.

Anonymous Florentine painter, Portrait of Girolamo Savonarola (front), Execution of Girolamo Savonarola (reverse), before 1520, oil on panel, 21.2 x 16.5 cm. London, National Gallery, inv. no. NG1301.

Sandro Botticelli (Alessandro Filipepi, Florence 1445-1510), Christ Crucified, after 1496, tempera on moulded panel, 157.5 x 98.8 cm, Prato, Museo di San Domenico, owned by the Curia.

Sandro Botticelli (Alessandro Filipepi, Florence 1445-1510), Madonna and Child with the Young St John, c.1500, panel painting, 134 x 92 cm. Florence, Galleria Palatina, Palatina inv. no. 357 (1912).

Denaro e Bellezza. I banchieri, Botticelli e il rogo delle vanità

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