Pinacoteca di Brera

 
museum
MUSEUM DETAIL

Pinacoteca di Brera is a complex that consists of the departments of Accademia delle Belle Arti, Biblioteca Nazionale Braidense, Sopraintendeza per il Patrimonio Storico ed Artistico, Istituto Lombardo di Scienze e Lettere, Botanical garden and Astronomical Observatory.

The origins of this collection, where the chronological period of the artworks ranges from 13th to 20th century, with great examples of national and international figurative artistic culture, allow us to understand the motives of this heterogeneity and variety. Pinacoteca di Brera is situated in the namesake building on the area which, in the past, was occupied by the Order of the Humiliati who came to Milan in 1209, designed by Milanese architect Carlo Maria Richini and later renovated by Giuseppe Piermarini.

In 1773 after the suppression of the Jesuit order, Pinacoteca di Brera became a state property. The first collection was introduced by Maria Theresa Of Austria, who wanted to create a collection of exemplary works intended for the students’ training.

When Milan became the capital of Italian kingdom by Napoleon’s will, the gallery became a real museum with exhibitions of great paintings from all the conquered territories, in addition to the already existing collection. In total there were 269 artworks, and the museum was opened to the public in 1809 with a unique collection of artworks from all the Italian museums, among them the Marriage of the Virgin by Raphael, the Crucifixion by Bramantino and the Disputation of St. Stephen by Carpaccio.

In the 19th century the collection was enriched with many significant works taken from Lombard churches and conventions, due to the abolition of many religious orders. Other works of identical origin, which were removed from the departments of the Italian kingdom, were added to the collection, thanks to the initiative of Giuseppe Bossi and Andrea Appiani. This explains the presence of so many important sacred paintings, which gave the museum its particular appearance, as well as the paintings by Bellotto and the portraits by Lorenzo Lotto.

Corrado Ricci, writer and art historian of undisputed fame, reorganized the exhibition to a strict chronological order by the schools and the polyptych of Valle Romita by Gentile da Fabriano and Men at Arms by Bramante were added to the collection. After the historic reorganization of Ettore Modgliani and architect Piero Portaluppi, following the bombings of 1943, director Feranda Wittgens gives the Pinacoteca a modern and almost aristocratic structure, taking advantage of Franco Albini’s work as well.

The collection was enriched with paintings and sculptures from the 20th century, thanks to the donation of Emilio and Maria Jesi (1976) and Vitali (1984) and with the acquisitions managed by the historic Associazione Amici di Brera which has always kept the museum in dynamic and continuous evolution. Among these were the Self-portrait by Umberto Boccioni, Mother and Son by Carlo Carrà, the Still Life by Giorgio Morandi, the Red Wagon by Fattori and the Afternoon by Silvestro Lega. The director at the time, Franco Russoli, started the expansion process in the halls of the Citterio palace and denounced the problems of that era with the exhibition “Processo per il Museo” in 1974, held in those unused halls. The Pinacoteca was reopened and expanded with Carlo Bertelli.

More recent renewal process began in 1989 with the renovation of technological installations and reorganization of the spaces. The work was organized by Vittorio Gregotti, who created the Napoleonic rooms and the small rooms next to the original gallery.

Among the most important and internationally famous works are Piero della Francesca’s Monterfeltro altarpiece, Andrea Mantegna’s Dead Christ, Gentile and Giovanni Bellini’s Preaching, Barocci’s Martyrdom of St. Vital, the scenes by Antonio Campi, the Christ at the Column by Bramante, the Supper at Emmaus by Caravaggio and the Kiss by Hayez.

On 17 December 2011 a new staircase was introduced, designed by Adolfo Natalini. It connected the historical floor of the gallery with the new halls on the first floor. The most recent (2017) renovation was organized in the heart of the Brera, the Napoleonic rooms.