The rich bibliography on the three generations of artists of the Galliari family focused even in the past two decades, on the wide activity n the Stato di Milano of Bernardino and his two brothers, Fabrizio and Giovanni Antonio, as fresco painters and, especially, as theatrical scenographers. Their works painted in Piedmont, and particularly in the capital city, considering their status of Savoy court sudditi, never abandoned, had been centered on the role by Bernardino and Fabrizio as scenographers of the Regio Theatre in Turin, but their decorative campaigns in religious buildings and for court aristocracy palaces gained little attention. The present paper investigates the last subject, considering the different artistic roles of the three brothers as figurative and illusionistic architecture painters and the various international patterns used by the members of the family. The work division among them can be compared in the same area with that of the family équipe of the Pozzo from Valsolda which had been settled in Piedmont since the last decades of the XVIITH century and with the Torricelli of Lugano different generations of artistis which appeared in these territories from the 1750s. The paper will also focus on the reasons and the supporters of Bernardino’s promotion as professor of the Turin Painting and Sculpture Royal Academy and his teaching activity for over ten years, topic never investigated before.
La bibliografia sulle tre generazioni di artisti della famiglia Galliari, pur ampia, ha focalizzato l’attenzione, anche nel corso degli ultimi due decenni, sulla vasta produzione nello Stato di Milano di Bernardino e dei due fratelli, Fabrizio e Giovanni Antonio, sia in qualità di pittori frescanti che, soprattutto, di scenografi teatrali. Diversamente, la loro attività in territorio piemontese, e in particolare nella capitale, considerando il loro status di sudditi sabaudi, mai abbandonato, è stata oggetto di maggiore ricerca in merito all’attività di scenografi, svolta principalmente da Bernardino e da Fabrizio, per il Teatro Regio di Torino, ma in modo episodico in relazione alle campagne decorative per edifici di culto e soprattutto per la committenza aristocratica di corte. Il presente contributo intende analizzare in particolare questo ultimo ambito, rileggendo la dialettica di ruoli tra i fratelli nelle diverse specializzazioni di pittori di quadratura e di figura e i loro modelli di riferimento, secondo modalità di suddivisione del lavoro dell’impresa famigliare che trovano nello stesso Piemonte sabaudo un interessante precedente nei Pozzi di Valsolda e un seguito e competizione sul territorio nei Torricelli di Lugano. Si pongono in luce, inoltre, le motivazioni della nomina e il significato del ruolo esercitato da Bernardino in qualità di docente della Regia Accademia di Pittura e Scultura di Torino per oltre un decennio, a partire dal 1778, mai oggetto di specifica riflessione.
Per Bernardino Galliari “Prospettivo insigne” e l’attività dei Galliari in Piemonte. Nuovi indirizzi di ricerca
Laura Facchin
2015-01-01
Abstract
The rich bibliography on the three generations of artists of the Galliari family focused even in the past two decades, on the wide activity n the Stato di Milano of Bernardino and his two brothers, Fabrizio and Giovanni Antonio, as fresco painters and, especially, as theatrical scenographers. Their works painted in Piedmont, and particularly in the capital city, considering their status of Savoy court sudditi, never abandoned, had been centered on the role by Bernardino and Fabrizio as scenographers of the Regio Theatre in Turin, but their decorative campaigns in religious buildings and for court aristocracy palaces gained little attention. The present paper investigates the last subject, considering the different artistic roles of the three brothers as figurative and illusionistic architecture painters and the various international patterns used by the members of the family. The work division among them can be compared in the same area with that of the family équipe of the Pozzo from Valsolda which had been settled in Piedmont since the last decades of the XVIITH century and with the Torricelli of Lugano different generations of artistis which appeared in these territories from the 1750s. The paper will also focus on the reasons and the supporters of Bernardino’s promotion as professor of the Turin Painting and Sculpture Royal Academy and his teaching activity for over ten years, topic never investigated before.
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