{"id":8260,"date":"2023-04-08T11:04:07","date_gmt":"2023-04-08T09:04:07","guid":{"rendered":"http:\/\/museinazionalibologna.cultura.gov.it\/?page_id=8260"},"modified":"2024-10-03T13:01:16","modified_gmt":"2024-10-03T11:01:16","slug":"la-mappa-del-museo","status":"publish","type":"page","link":"https:\/\/museinazionalibologna.nowhere.eu\/en\/la-mappa-del-museo","title":{"rendered":"Pinacoteca Nazionale di Bologna"},"content":{"rendered":"
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The Pinacoteca Nazionale di Bologna was founded in 1808 as the picture gallery of the Accademia di Belle Arti, the educational institute that rose from the ashes of the 18th-century Accademia Clementina. The ancient body of works, which came from the Istituto delle Scienze [Science Institute], was further augmented by the extraordinary collection of almost a thousand paintings originating from the suppressions of churches and convents carried out after Napoleon\u2019s troops entered Bologna between 1797 and 1810. Throughout the 19th century, new rooms and works were added to the museum, the result of the 1866 suppressions put in force by the new Italian state, but also thanks to bequests and acquisitions. In 1882, the Pinacoteca became independent from the Accademia di Belle Arti di Bologna.<\/p>\n

The visitors\u2019 itinerary begins with the extensive examples of 14th-century Bolognese art, with works by Pseudo Jacopino, Vitale da Bologna and Simone dei Crocefissi. Particularly noteworthy are Giotto\u2019s polyptych and the section dedicated to the frescoes from the small church of Santa Maria di Mezzaratta, recomposed according to the original architectural structure.<\/p>\n

Highlights of the Renaissance are the Bolognese Francesco Francia and Amico Aspertini, as well as the Ferrara-born Lorenzo Costa, Francesco del Cossa with the \u201cPala dei Mercanti [Altarpiece of the Merchants]\u201d and Ercole de\u2019 Roberti with the small fragment from the Garganelli Chapel in St. Peter\u2019s Cathedral.<\/p>\n

After Raphael\u2019s masterpiece \u201cEcstasy of St Cecilia\u201d and Parmigianino\u2019s \u201cPala di Santa Margherita [St Margaret Altarpiece]\u201d, the itinerary arrives at the late 16th-century reformation, reflected in the prolific works of Agostino, Annibale and Ludovico Carracci.<\/p>\n

This is followed by the 17th-century milestones in Emilia: the works by Guido Reni, including masterpieces such as the \u201cSlaughter of the Innocents\u201d and the so-called \u201cPala del voto [Altarpiece on the Bubonic Plague]\u201d; Domenichino\u2019s three extraordinary altarpieces depicting \u201cThe Martyrdom of St Agnes\u201d, the \u201cMadonna of the Rosary\u201d and \u201cThe Martyrdom of St Peter\u201d; Francesco Albani\u2019s \u201cBaptism of Christ\u201d; Alessandro Tiarini\u2019s \u201cLamentation over the Dead Christ\u201d, \u201cSt Sebastian Cured by Irene\u201d and \u201cSt William of Aquitaine receiving the Cowl\u201d by Guercino.<\/p>\n

The itinerary ends with the multifaceted 18th century, alternating between works related to the aristocracy and the common people, by Giuseppe Maria Crespi (the \u201cFattoria [Farm]\u201d and the \u201cAutoritratto [Self-portrait]\u201d), Donato Creti (the two \u201cTombe allegoriche [Allegorical Tombs]\u201d) and the brothers Gaetano and Ubaldo Gandolfi.<\/p>\n\t<\/div>\r\n\r\n\t<\/div>\r\n\n\n

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\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t‘300\t\t\t\t\t\t\t<\/span>\r\n\t\t\t\t\t\t
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\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t‘400\t\t\t\t\t\t\t<\/span>\r\n\t\t\t\t\t\t
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\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t‘500\t\t\t\t\t\t\t<\/span>\r\n\t\t\t\t\t\t
<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t
\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\tI Carracci\t\t\t\t\t\t\t<\/span>\r\n\t\t\t\t\t\t
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\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t‘600\t\t\t\t\t\t\t<\/span>\r\n\t\t\t\t\t\t
<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t
\r\n\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t‘700\t\t\t\t\t\t\t<\/span>\r\n\t\t\t\t\t\t
<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t<\/div>\r\n\t\t\t
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\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t1<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t From the 13th Century to the Gothic Era <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t2<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t The Gotic era <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t3<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Giotto and the \u2018Foreign Painters' in Bologna <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t4<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t The Twilight of the Gothic era <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t5<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t The Twilight of the Gothic era <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t6<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t The 14th-Century Frescoes <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t7<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t The Mezzaratta Frescoes <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t8<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t The Mezzaratta Frescoes <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t9<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t The Early Renaissance <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t10<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t The Ferrara Artist, Francesco del Cossa e Ercole de\u2019 Roberti <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t11<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Francesco Francia, Lorenzo Costa and\nAmico Aspertini <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t12<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Francesco Francia,\na goldsmith and painter <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t13<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Perugino and the arrival of \"outsiders\" around 1500 <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t14<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Amico Aspertini \u201cA capricious man with a bizarre mind\" <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t15<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Raphael and the new era of the Renaissance <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t16<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t The influence of Raphaelism <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t17<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Il Cinquecento tra Bologna e la Romagna <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t18<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Parmigianino, towards Mannerism <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t19<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Il primo Manierismo <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t20<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Tiziano, Tintoretto, El Greco <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t21<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Niccol\u00f2 dell’Abate <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t22<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Il Manierismo maturo <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t23<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t I Carracci <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t24<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Guido Reni <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t25<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t La pala d’altare nei primi decenni del seicento <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t26<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Il Guercino <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t27<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Il secondo seicento tra classicismo e innovazione <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t28<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t I sereni paesaggi d’ Arcadia <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t29<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Aula Cesare Gnudi <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t30A<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Agli esordi del Seicento Bolognese <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t30B<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Le nuove generazioni tra Guido Reni e Caravaggio <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t30C<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Il paesaggio classico <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t30D<\/span>\r\n\t\t\t\t\t\t\t\u25cf<\/span>\r\n\t\t\t\t\t\t Il Settecento: da Giuseppe Maria Crespi ai Gandolfi <\/span>\r\n\t\t\t\t\t<\/a>\r\n\t\t\t\t<\/div>\r\n\t\t\t\t\t<\/div>\r\n\t\r\n