#Altobello Melone

[lionofchaeronea]

The Road to Emmaus, Altobello Melone, ca. 1516-17

[halfabird]

Altobello Melone (v. 1491-1543), Portrait d'un gentilhomme (Cesare Borgia), 1513, Bergame, académie Carrara

[koredzas]

Altobello Melone - Madonna and Child. 1510

[itsbarbiebiiittchhhhh]

1. Giovan Antonio Boltraffio, Madonna lactans [Our Lady nursing], c. 1508

2. Altobello Melone, Madonna and Child with the young Saint John the Baptist, c.1508

‘Madonna Lactans’ or ‘Virgo Lactans’ Iconography of Madonna (Virgin Mary) nursing baby Jesus

[borgialucrezia]

As someone who is currently watching Borgia: Faith and Fear, I fell in love with Isolda and her Lucrezia and wanted to hear you opinions about her portrayal!

i grew to adore isolda's lucrezia after my second watch which i did recently. i have to confess though i was a bit turned off by faith and fear at first since i was an extreme showtime's the borgias fan !! but now i'm a fan of faith and fear as well and i believe their characters were portrayed more authentically and raw. holliday's lucrezia will always be my favorite, but i love how isolda's lucrezia is more explored in faith and fear because she's more agentive and takes a more active role in political campaigns. her appearance is endearing as well, and she looks exactly like the lucrezia in pintoricchio's painting…so yeah, i think isolda did a tremendous job with lucrezia, exploring even darker aspects of the character, etc.

juan has always been my fav borgia brother in every borgia media but in faith and fear he's the older brother and an overconfident chad and a brute which i didn't really vibe with much (not that he wasn't good but i prefer david oakes's version !! the younger brother who's the pariah among the borgia family, vulnerable and weak, yet hiding behind a bravado facade with a cruel streak to mask his inferiority, going to extreme lengths and does terrible stuff to prove himself to his family and gain their love). though i do love how faith and fear juan's storylines revolve around him and lucrezia more than around him and cesare since the shift in making juan older than cesare made me less interested in the brothers' rivalry.

mark ryder's cesare is the younger brother and he's fascinating and real which makes him my fav borgia brother in faith and fear. his depiction is more historically accurate and distinctly machiavellian, just like his appearance, he looks exactly like cesare in altobello melone's portrait. his characterization is also far more interesting than showtime's version. (don't get me wrong because i do prefer françois arnaud as an actor for cesare and i believe he would have done much more if he had been given the material from faith and fear) but mark's cesare? he was such an entertaining loose cannon through and through without any justifications.

tom fontana was brave enough to make all the characters more realistic without having the narrative backing them up. he's not pushing you to root for anyone, and certainly not for cesare !! unlike showtime's version, where his misdeeds are somehow portrayed as "justified" despite being a selfish megalomaniac who is sly and only serves the family in ways that benefit him, he stands almost at the pinnacle of everyone, with no rivals to challenge him (except for his younger brother who eventually gets nerfed) neil jordan hyped cesare up at juan's expense (throwing all of cesare's negative traits onto him.) he made cesare too competent because he needed him to seem likable and gain the audience's sympathy, trying to fit him into the "conventionally heroic" category but inadvertently making him a sociopath (thank you françois for embracing this unintentional aspect of him). whereas faith and fear's cesare had so many epic twists and turns, he doesn't lie to himself that he's the family's protector, and certainly not lucrezia's protector either, considering how he's inflicting pain on her yet still remains twistedly codependent. there was a moment where he intimidates his own deserting army by shouting to them all the atrocities and murders he committed in his life, then asking them if they can expect any better now that they are betraying him…brilliant !! i would have loved to see showtime's cesare scrambling and reflecting with self-awareness.

in terms of lucrezia and cesare's chemistry…no one is ever beating holliday and françois' portrayal of their relationship that is laced with both twistedness and innocence. they're perfect at the little physical touches and intimacies that they improvised together, and how they built up strong sexual chemistry between cesare and lucrezia from the very beginning, and how their affair caused doom for everyone around them. chemistry like that will never be replicated on screen ever again and that's on that !!

where things have been toned down in showtime's the borgias, such as sex, blood, and violence...faith and fear is more brutal, sleazy, bloody, and sexified. that's why showtime's the borgias is more approachable and comfortable for some viewers; they took a more straightforward route and depicted a simpler perception of the borgia family. personally, what gripped me about showtime's the borgias were the actors' performances, their enthusiasm, the dynamics between cesare/lucrezia/juan and the sensuality laced into the trio's sinister incestuous web. the codependency between cesare and lucrezia, the cain and abel arc between cesare and juan, as well as the costumes, music, and cinematography, all contributed to my investment in the show.

borgia: faith and fear has accents that are all over the place, and the costumes are very questionable, as are the actors' performances and chemistry. but they absolutely knock it out of the park in terms of characterizations and overall creativity in storylines

[sarenhale]

Btw yesterday I recognized a painting from resident evil 1's pixelated rendition by watching my friend play the game.

I went 'wait a second, go back', saw a mess of brownish pixels, and correctly identified the painting which was, incredibly enough, a pretty 'niche' painting by an italian painter from the Lombardy area, so pretty local to my hometown, and I immediately recognized it because it's one of my favourite paintings displayed at the Painting collection Museum in my town, and always go see it in person when I visit the collection. INSANE.

It's this painting btw. "Portrait of a gentleman" (incorrectly assumed to be Cesare Borgia) by Altobello Melone

[meltedfuckingmarshmallow]

road to emmaus, altobello melone // the forest river, harriet annie wilkins // anthem for spring, dag ole nordhaug

[personal-reporter]

Custodi di arte e fede: Duomo di Cremona

Una delle chiese più antiche della Lombardia… Non ci sono molte notizie su chiese paleocristiane preesistenti al Duomo di Cremona, ma si ipotizza che ve ne fossero almeno due prima del 26 agosto 1107 quando, come dimostra l’iscrizione della pietra di fondazione, cominciarono i lavori di edificazione. Fu un terremoto, come narrò anni dopo il vescovo Sicardo, ad interrompere nel 1117 i lavori, ripresi poi nel 1129 e molto del materiale del vecchio edificio viene riutilizzato, compresi alcuni elementi decorativi come i profeti del portale maggiore. L`aspetto originale del Duomo, di impianto romanico,  era di tipo basilicale, senza transetto, a 3 navate absidate, delle quali quella centrale è coperta a capriate con tetto a vista, mentre la facciata  era in cotto con profilo a salienti ed un solo ingresso. Già nel Duecento l`edificio vide una serie di profonde trasformazioni tra cui la costruzione delle volte gotiche in muratura della navata centrale e l`edificazione del transetto e all`inizio del Trecento venne ultimato il Torrazzo, una torre civica a carattere difensivo, diventato poi l`altissimo campanile del Duomo. A partire dal 1413 furono costruite le volte delle navate laterali, quelle della navata centrale e quelle dei transetti, il ciclo pittorico dell`Antico Testamento viene realizzato in questi anni e la data di conclusione dei lavori fu il 1430. Da vedere all’interno del Duomo sono le storie di Giuseppe e dei suoi fratelli del transetto Sud e quelle di Giacobbe, Rebecca ed Esaù del transetto Nord, uno dei pochi esempi occidentali di rappresentazione in quell`epoca dell`Antico Testamento all`interno di un edificio sacro. Alla fine del secolo iniziò anche la sopraelevazione della parte centrale della facciata del Duomo con le due volute e il frontone che oggi la caratterizzano, inoltre arrivarono tra i tesori della chiesa la Grande croce d`argento nel 1478 e lo splendido coro canonicale intagliato e intarsiato da Giovanni Maria da Piadena, detto il Platina. La grande stagione artistica della Cattedrale cominciò dai primi anni del Cinquecento, con la grande impresa pittorica che interessò l`abside e le pareti della navata centrale per mano di Boccaccio Boccaccino e continuò con gli interventi di Gianfrancesco Bembo, Altobello Melone, Girolamo Romanino, il Pordenone e Bernardino Gatti, che chiuse nel 1529 e la pala dell`Assunta fu commissionata a fine secolo a Bernardino Gatti. Allo stesso periodo risalgono le tele che decorano le cappelle della Madonna del Popolo e del Santissimo Sacramento. Nel 1629 i costruttori del Duomo commissionarono  12 arazzi con le storie di Sansone per ornare la navata centrale, poi fabbricati a Bruxelles, oggi esposti al pubblico in occasioni speciali, cui segì la decorazione ottocentesca delle pareti del presbiterio con 4 episodi evangelici legati alla Risurrezione realizzati da Giuseppe Diotti. Nella piazza del Duomo, frutto di un lavoro di demolizione iniziato nella seconda metà dell`Ottocento fino ai primi anni del Novecento, si trova la pietra di fondazione, conservata sopra la porta d'ingresso della sagrestia dei canonici, con la data in cui è cominciata la costruzione del massimo tempio cittadino, che era il 26 agosto 1107, mentre a reggere l`iscrizione sono Enoch ed Elia, due figure di cui l`Antico Testamento non narra la morte, viste come simbolo dell’immortalità della Chiesa. Read the full article

[rosareversa]

You can check out any time you like but you can never leave...

Antonio de Pereda // Bram Stoker // Altobello Melone // The X-Files // Eagles

[illustratus]

Portrait of Gentleman aka Cesare Borgia

by Altobello Melone

[carloskaplan]

Altobello Melone: Retrato de xentilhome (César Borgia)

[history-of-fashion]

1510-1515 Altobello Melone - Portrait of a Woman (Portrait of Alda Gambara?)

(Pinacoteca di Brera)

[classic-art]

The Road to Emmaus

Altobello Melone, c. 1516-1517

[otherhistoricalthings]

Cesare Borgia (attributed) by Altobello Melone

about Cesare Borgia

[hzaidan]

05 Works, Today, April 26th, is Saint Alda Gambara's day, With Footnotes - #116

Please follow link for full post

Altobello Melone, Ancient, Art, biography, fine art, footnotes, History, Humiliati, Mythology, Paintings, Religion, RELIGIOUS ART, Saint Alda, Zaidan,

[italianartsociety]

The First Easter Sunday Illustrated in Early Modern Italian Painting

According to scripture, on the morning of the first Easter Sunday, a group of women (Mary Magdalene, Mary of Clopas and Mary Salome) had set off to Christ’s tomb, in order to anoint his body with oils and spices. When they arrived at their destination, the found an empty vault (below). The stone entrance had been opened by an angel, who informed them that Jesus had risen and that they must go and tell the diciples. 

The disciples don’t believe the women however, John and Peter took it upon themselves to go and visit Christ’s tomb in order to verify the situation. And they also found it empty (below). 

John and Peter returned home and in the meantime, Mary Magdalene made her way back to the tomb. There she encountered Jesus, but dis not initially recognise him. Jesus however, revealed himself to Mary Magdalene and when she tried to touch him, he proclaimed, “do not touch me” as he had “not yet ascended to the Father” (see below).

Mary returned to the disciples with her renewed message and later that day Peter and John can be found travelling on the road to Emmaus. Here, they too encounter the risen Christ although, like Mary, they do not recognise him (below). 

When they arrive in Emmaus, Peter and John invite Christ to dine with them. As Christ blesses the food, the two disciples recognise him as their Lord and with that, Jesus disappears (below).

Peter and John then return to Jerusalem and inform the other disciples what has occurred. Jesus then appears to them and allows them to touch him. 

Images: 

Jacopo Tintoretto, The Resurrection of Christ, 1565, oil on canvas, Chiesa di San Cassiano, Venice. Wikimedia Commons. 

Annibale Carracci, The Holy Women at Christ’s Tomb, 1587-1598, oil on canvas, The State Hermitage Museum, St Petersburg.  

Giovanni Francesco Romanelli, Saint John and Saint Peter at the Empty Tomb of Christ, before 1641, oil on silvered copper, Fitzwilliam Museum, Cambridge.

Mario Balassi, Noli Me Tangere, c. 1632, oil on canvas, Ente Cassa di Risparmio, Florence. Web Gallery of Art. 

Altobello Melone, The Road to Emmaus, 1516-1517, oil on panel, The National Gallery, London. Copyright © 2016–2020 The National Gallery.

Caravaggio, Supper at Emmaus, 1601-1602, oil on canvas, The National Gallery, London. 

Sebastiano del Piombo, The Resurrected Christ, 16th century, oil on panel, San Niccolò, Treviso. Wikimedia Commons. 

References: The Gospels of Matthew, Mark, Luke and John.

Posted by Samantha Hughes-Johnson.