On Tuesday 15 October 2019 at the Pinacoteca Tosio Martinengo will inaugurate a new stage of PTM ANDATA E RITORNO, the Brescia Museums Foundation project which started last April with the work of Pietro Vannucci, aka Perugino, the Presentation in the temple, and which transforms the "departures" linked to loan requests into "arrivals" of guest works: an opportunity to welcome masterpieces in the rooms of the new Pinacoteca that dialogue with the permanent collection, giving the opportunity to Brescia and tourists to constantly reinterpret the corpus from the Pinacoteca collection.
The second stage of PTM A / R will feature a work from the civic collections: the statue of Giovanni Franceschetti, Carolina Lera Brozzoni as Flora, which will find space in the XXI room of the Pinacoteca in the absence of the bust of Eleonora d'Este by Antonio Canova, loaned to the GAM Gallery of Modern Art in Milan for the Canova exhibition.
Pending the third stage of the route, which will be held next December, the public will be able to admire Flora until February 24, 2020.
The work of the second appointment with PTM ANADTA E RITORNO - edited by Roberta D'Adda, curator of the Brescia Museums Foundation, together with the contributions of Bernardo Falconi, art historian who carried out research on Niobe, and Alessio Costarelli, historian of the art that carried out the research on Flora - represent a variation compared to the first edition of the project as it does not come from another museum, but from the deposits where all the works are kept which do not have a stable location in the usual visit path . Both now experience a new light, thanks also to private contributions: the statue of Franceschetti, chosen by virtue of its beauty and its representativeness, has been restored thanks to the contribution collected by the Association of Executives of the Banca Lombarda e Piemontese Group - which we remember has supported the restoration of Luigi Ferrari's Laocoonte last year.
Carolina Lera Brozzoni in the guise of Flora was commissioned to the Bresciaese Franceschetti (then not even thirty years old) by Camillo Brozzoni, the collector and patron whose memory is often mentioned in the Pinacoteca halls: in fact he owes to him the remarkable and rich collection of decorative arts from which come most of the precious objects exhibited in the windows of the Museum, starting with Venetian glass, as well as some works of ancient art such as the Portrait of Canon Lateranis by Sofonisba Anguissola.
Like the Eleonora d’Este, this Flora is also a powerful tribute to classical sculpture and the ideal of feminine beauty and virtues. In this case, however, the celebrated woman is not a muse of the past, but the collector's wife, Carolina Lera. And the ideal dimension of reference is not that of poetry, but that of nature or, more precisely, of botany: an interest that united Brozzoni and his wife, and that in sculpture is recalled by the choice of presenting the woman as the goddess Flora, identification reinforced by the presence of the crown of flowers and the camellia. The work therefore makes it possible to broaden the reflection on this interesting figure of a collector to the scientific part of his collections and, in particular, to the large park he had created at his villa in the Borghetto area, near Porta San Nazaro (now Via Corsica) . Also the villa and the garden - with the greenhouses and the collection of rare plants and camellias - were part of the legacy with which Brozzoni left his artistic collections to the City. In 1907 the garden was closed, giving way to a process that in the 1970s led to declaring it building land, definitively erasing its original character. Therefore, through the symbolic presence of this Flora, the link with a lost part of the nineteenth century Brescia culture is ideally re-connected.