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Museum of the Biella Territory verified

Biella, Piedmont, Italy closed Visit museumarrow_right_alt

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Giuseppe Pelizza da Volpedo - Sunshine
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Bernardino de' Conti - Virgin of the Rocks copy from Leonardo
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Lorenzo Delleani - Mountain landscape with cows
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Defendente Ferrari - Madonna with child
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Bernardino de' Conti - Triptych Virgin of the Rocks copy from Leonardo
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Carlo Carrà - Marina
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Marc Chagall - The drummer
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Renè Magritte - The sleep test
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Emilio Longoni - Reflections of a hungry
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Giuseppe Bozzalla - Between colors and vapors
fullscreen
Crosato Giambattista - Judith and Holofernes
fullscreen
Leonardo Bistolfi - Monument to Lorenzo Delleani
Giuseppe Pelizza da Volpedo - Sunshine
Bernardino de' Conti - Virgin of the Rocks copy from Leonardo
Lorenzo Delleani - Mountain landscape with cows
Defendente Ferrari - Madonna with child
Bernardino de' Conti - Triptych Virgin of the Rocks copy from Leonardo
Carlo Carrà - Marina
Marc Chagall - The drummer
Renè Magritte - The sleep test
Emilio Longoni - Reflections of a hungry
Giuseppe Bozzalla - Between colors and vapors
Crosato Giambattista - Judith and Holofernes
Leonardo Bistolfi - Monument to Lorenzo Delleani

Other works on display

Description

The work is commonly referred to as a pentyptic because the ancient frame marked the three tables in the five compartments with the Madonna enthroned with the Child in the center and Saints Bernardo d'Aosta, Giovanni Battista, Bartolomeo and Cristoforo on the sides. The original location is not clear. The work, before the last restoration to which it was subjected, was located in the presbytery of the Church of San Sebastiano and it is known that only on the occasion of the great Turin exhibition on Gothic and Renaissance in Piedmont in 1939, the three parts of which the work is composed and which at the time were in two different collections, were brought together. On that same occasion, the work was attributed to an unknown "Vercelli artist of the Spanzottian circle", returning it to the critical debate that until then had almost ignored it and that, in more recent times, has come to restore it to youthful activity by Defendente Ferrari. The collecting story of this work is undoubtedly interesting, evidence of the dangerous, but unfortunately frequent, dispersion of the ecclesiastical heritage created following the suppression of religious orders. The work was not only dismembered and sold but also heavily remodeled in the two side panels, as evidenced by some period photographs, which show extensive repainting in correspondence with the originally unpainted spaces on which the ancient carpentry rested.

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