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Sforza Castle Picture Gallery verified

Milan, Lombardy, Italy closed Visit museumarrow_right_alt

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Andrea Mantegna - The Madonna in Glory and Saints John the Baptist, Gregory the Great, Benedict and Jerome
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Filippo Lippi - Madonna of Humility
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Giovanni Antonio Canal, detto Canaletto - The Molo towards the riva degli Schiavoni with the column of San Marco
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Alessandro Magnasco, detto Lissandrino - The Verziere market
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Antonio Allegri, detto il Correggio - Madonna Bolognini
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Lorenzo Lotto - Portrait of a Young Man with Petrarchino
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Bernardo Bellotto - The Palazzo dei Giuristi and the Court of Justice of Milan
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Francesco Galli - Madonna Lia
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Pier Francesco Mazzucchelli, detto il Morazzone - Pentecost
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Vincenzo Foppa - Madonna of the book
Andrea Mantegna - The Madonna in Glory and Saints John the Baptist, Gregory the Great, Benedict and Jerome
Filippo Lippi - Madonna of Humility
Giovanni Antonio Canal, detto Canaletto - The Molo towards the riva degli Schiavoni with the column of San Marco
Alessandro Magnasco, detto Lissandrino - The Verziere market
Antonio Allegri, detto il Correggio - Madonna Bolognini
Lorenzo Lotto - Portrait of a Young Man with Petrarchino
Bernardo Bellotto - The Palazzo dei Giuristi and the Court of Justice of Milan
Francesco Galli - Madonna Lia
Pier Francesco Mazzucchelli, detto il Morazzone - Pentecost
Vincenzo Foppa - Madonna of the book

Other works on display

Description

Only in recent years has the work been attributed to Francesco Galli, known as Neapolitan, one of the lesser known personalities among painters who assimilated Leonardo da Vinci's innovative poetics thanks to his frequentation of the Milanese construction sites promoted by Ludovico il Moro. The suggestion that Vinci was the author of the painting dates back to at least the mid-eighteenth century, when the restorer Robert Picault wrote the artist's name on the back of the work. In the picture of the Pinacoteca, there are many themes that refer to iconographic and stylistic solutions painted or drawn by Leonardo. Among these, Neapolitan's interpretation of the female face emerges which seems to overlap the second version of the Virgin of the Rocks (London, National Gallery). The title that identifies the painting is a tribute to the figure of Amedeo Lia who wanted to sell one of his most cherished assets to the city of Milan in 2007. An intrinsic value links the painting to the Sforza residence: behind the religious scene the facade of the fortress it is represented in its structure rich in descriptive details, providing an irreplaceable iconographic memory of the Milanese monument at the end of the fifteenth century.

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