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On show in the exhibition

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Lunette connecting the cloister and the church of San Francesco, detail of the Angel
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Carved crucifix, replica of an original in Jacobin of Ormea wood
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Trembled in gold by Emperor Tiberius Costanzo
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Brooches in gilded silver and semiprecious stones from tomb 563 in the Lombard necropolis of Sant’Albano Stura
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Carved and decorated wood hurdy-gurdy
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Giulio Boetto - Wedding procession in Casteldelfino
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Giulio Boetto - Saber dance
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 Married couple from Acceglio
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Traditional dress of the Stura Valley
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Embroidered silk shawl from the Varaita Valley
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Equipment from tomb 127 of the Lombard necropolis of Sant’Albano Stura
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 Multiple damascened iron belt from tomb 88 of the Lombard necropolis of Sant’Albano Stura
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Wood bobbin engraved and decorated with Alpine rose
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Decorated gold cross tied with embroidered ribbon and engraved heart
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Traditional dress of the Gesso Valley
Lunette connecting the cloister and the church of San Francesco, detail of the Angel
Carved crucifix, replica of an original in Jacobin of Ormea wood
Trembled in gold by Emperor Tiberius Costanzo
Brooches in gilded silver and semiprecious stones from tomb 563 in the Lombard necropolis of Sant’Albano Stura
Carved and decorated wood hurdy-gurdy
Giulio Boetto - Wedding procession in Casteldelfino
Giulio Boetto - Saber dance
 Married couple from Acceglio
Traditional dress of the Stura Valley
Embroidered silk shawl from the Varaita Valley
Equipment from tomb 127 of the Lombard necropolis of Sant’Albano Stura
 Multiple damascened iron belt from tomb 88 of the Lombard necropolis of Sant’Albano Stura
Wood bobbin engraved and decorated with Alpine rose
Decorated gold cross tied with embroidered ribbon and engraved heart
Traditional dress of the Gesso Valley

Other works on display

Description

The dance of the sabers (Bal do Saber) is another of the five canvases commissioned to Giulio Boetto for the museum being built (1936). The scene represented is inspired by the armed dance which was performed in Castelletto Stura, Bagnasco and Fenestrelle in the province of Cuneo. The medieval origin of this type of performance is attested by numerous historical sources and the presence, in a corner of the canvas, of the detail of the Moorish player, refers to the period of the Saracen invasion. The stylistic features of Boetto are once again to be found in the lively color combinations and in the landscape details.

Other artworks in Cuneo

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