LORENZO LOTTO | ACROSS BERGAMO

Bergamo, 3 December 2016 – 26 February 2017

LORENZO LOTTO - A NEW DISCOVERY

Carrara Academy

LORENZO LOTTO TOUR - LLT

Adriano Bernareggi Museum, San Bartolomeo Church, Santo Spirito Church, San Bernardino Church

THE CHORUS - LOTTO AND CAPOFERRI

Santa Maria Maggiore Basilica

LORENZO LOTTO | ACROSS BERGAMO is an exhibition project comprising the LORENZO LOTTO - A NEW

DISCOVERY exhibition set up in the Carrara Academy, the LORENZO LOTTO TOUR – LLT itinerary around the city

organised by the Adriano Bernareggi Foundation and the visit to the Choir in the Basilica of Santa Maria Maggiore

coordinated by the MIA Foundation.

A project by the Carrara Academy Foundation with the collaboration of Bergamo City Council, the Diocese of

Bergamo and Luogo Pio Colleoni, scheduled from December 2016 to February 2017. Curators: Emanuela Daffra and

Paolo Plebani.

Getting to know Lorenzo Lotto: two previously unattributed works, the story of their discovery, national and

international loans dialoguing with the extraordinary paintings in the Carrara Academy collection and an itinerary

around the city of Bergamo in a project detailing an artist who continues to amaze with every new review.

The exhibition seeks to analyse an important moment in the career of Lorenzo Lotto (Venice 1480 ca. – Loreto 1556/57), a

period that coincided with last years the painter spent in Bergamo. From the Carrara Academy to the Basilica of Santa

Maria Maggiore, the Adriano Bernareggi Museum and beyond, towards Lorenzo Lotto's works in the city, in places

sometimes difficult to access that can now be visited thanks to a network of collaborations.

Starting point: an exceptional discovery linked with one of the artist's most famous achievements - the designs for the

wooden inlays in the Choir of the Basilica of Santa Maria Maggiore. The Luogo Pio Colleoni in Bergamo is home to an

inlay depicting the Creation, until now believed to be an old copy of the one in the Basilica's choirstalls. It is now suggested

that this superbly fashioned artefact, as attested to by sources, is one of the preparatory inlays made and worked by Lotto in

person.

The exhibition starts off with this rediscovered masterpiece, associated with the choir as a pinnacle in Lotto's entire career for

its extraordinary narrative and symbolic universe; the inlay will be flanked by two preparatory studies in ink for other major

works, one of which is a new discovery and attributed only recently.

The exhibition continues by highlighting dialogue between some of Lotto's paintings in the Carrara Academy collections and

loans of other works completed in the same period. Authentic masterpieces: from the enigmatic and fascinating Portrait of

Lucina Brembati to the Mystical Wedding of St. Catherine from Palazzo Barberini in Rome, which equally reveal that

delightful narrative vein and singular aptitude for developing unconventional images that also characterises his work in the

years spent in Bergamo. From the Portrait of a Young Man and the presumed Self Portrait from the Thyssen Museum in

Madrid to the Assumption from Celana - after many years once again in the forefront of an exhibition dedicated to this artist -

that transposes the invention contained in the Creation inlay on a monumental scale.

Lorenzo Lotto | Across Bergamo reveals one of the Renaissance artists closest to modern sensibilities, not the least

through a series of initiatives open to the general public: guided visits, educational tours for children and teenagers, a

publication and a theatre project in January.

Exhibition catalogue: Lorenzo Lotto - A New Discovery, published by Officina Libraria, Milan, developed with the support

of the Friends of the Carrara Academy Association, with texts by Matteo Ceriana, Emanuela Daffra, Michele Di Monte,

Andrea Franci, Stefano L’Occaso, Paolo Plebani, Gianluca Poldi and Giovanni Valagussa.

A year after I am the Tailor, the Carrara Academy once more focuses attention on one of those artists who today helps

define the identity of a museum. That restless, visionary and very modern Lorenzo Lotto of whom our gallery is home to one

of the largest collections in the world. And precisely because of this visionary restlessness, he was an infallible photographer

of subtle psychological nuances and also much admired and studied in the twentieth century. Despite this wealth of studies, I

can say with pride that this exhibition boasts "an impressive number of new items". The Museum as a generator of

innovations. As well as a key for discovering a local area that has a great deal to offer.

Giorgio Gori, President of the Carrara Academy Foundation

A delightful and, at the same time, in-depth approach to the creative world of Lorenzo Lotto, a painter who never ceases to

fascinate us. Visionary inventions and immensely human details, flickering lights and sophisticated compositions,

unforgettable faces and expressive gestures all revealed along an intense itinerary that includes acknowledged

masterpieces, previously unseen works and innovations.

Emanuela Daffra, Director, Carrara Academy Foundation

The Diocese of Bergamo warmly accepted the invitation to play an active role in the development of this new appreciation of

Lorenzo Lotto, involving collaboration between the Carrara Academy, the Department of the Cultural Heritage, the Adriano

Bernareggi Foundation and local parishes. Many of Lotto's masterpieces were commissioned by churches in and around the

city, where they are still housed with great care and passion. The desire to guide visitors along an enjoyable and detailed

tour of these places of faith and beauty took shape in the Lorenzo Lotto Tour - LLT, conceived by the Bernareggi

Foundation: a tour that starts from the "multi-centre museum" in the city itself to the Carrara Academy, then sets off again

ideally from here in search of new discoveries.

Don Fabrizio Rigamonti, Director, Department of the Cultural Heritage and the Cultural & Pastoral Office, Diocese of

Bergamo

The MIA Foundation is delighted to contribute to the exhibition dedicated to Lorenzo Lotto promoted by the Carrara

Academy. Lorenzo Lotto is a central figure in the history of the Basilica of Santa Maria Maggiore, which is home to one of his

jewels and his last great work: the inlaid choir. The interesting discovery of the correspondence between Lotto and the

Governors of the Misericordia Maggiore of the times, precisely while he was making preparatory drawings for the inlays,

helps reconstruct the great artist's personality and psychology, as well as the secrets of his art. The MIA Foundation is also

pleased to announce that when work on the lighting system in the Basilica is completed, a new lighting system will also be

developed for the choir.

Fabio Bombardieri, President, MIA Foundation

Lorenzo Lotto | A New Discovery

Realising that an inlay believed to be a copy by Lorenzo Lotto is actually a superbly made original artefact is one of the

surprises that the Italian artistic heritage is still capable of holding in store.

This significant discovery suggests new research avenues and helps exemplify Lotto's imaginative and expressive world.

This was why the discovery of the inlay prompted the idea of an exhibition focusing on the years Lotto spent in Bergamo, not

the least thanks to the core of paintings already in the Carrara Academy, one of the most important collections in the world

summarising 30 years of work by the Venetian-born artist: from Portrait of a Young Man in the early years of the century to

the Holy family with St Catherine of Alexandria dated 1533.

The Creation was designed by Lotto and finished by him in person; it was intended for the inlaid choir of the Basilica of Santa

Maria Maggiore. Work began in 1522 and was so original in terms of technique and narrative inventiveness that it generated

no other results. The paintings of those years reveal, in colour, the inventive tension characterising this and other inlays. The

Mystical Weeding of St. Catherine, the Holy Conversation from Palazzo Barberini or the Assumption from Celana, but also

the two fine paintings - albeit of uncertain attribution - with St. Peter crying and Judas returning the thirty pieces of silver

never seen side by side, despite sharing a similar taste for narrative enhanced by surprising details given their quotidian

nature, for images animated by irregular shadows interrupted by unpredictable lights, as well as bold foreshortening,

complex and always varied layouts. Viewed side by side, they confirm Lotto's to be a stimulating narrator capable, like few

others, of appealing to modern sensibilities.

Lorenzo Lotto | A profile

Lotto was a wandering artist par excellence, although his travels took place in confined areas which he returned to on

several occasions. Venice, where he was born in 1480, Treviso, the Marches Region and then Bergamo, where lived from

1513 to 1525.

He made an exceptional trip to the Papal Court in Rome between 1508 and 1509. This was an exception because Lotto was

not a high society man. His clients were humanists, cultivated religious figures and wealthy merchants. He painted

memorable portraits of them, images for private devotion, constantly astonishing altarpieces and fresco cycles. Restless,

stirred by a tormented religiosity, which is reflected in some aspects of the Protestant Reformation then in its early days, and

incapable of handling his business properly, he died in poverty in the Sanctuary of the Holy House of Loreto, where he had

retired.

Artworks

Lorenzo Lotto, Ritratto di giovane, circa 1502 , oil on board

Bergamo, Carrara Academy, cm 34,2 x 27,9

Lorenzo Lotto, Autoritratto (?), circa 1510-13 oil on board

Madrid, Thyssen-Bornemisza Museum, cm 43 x 35

Lorenzo Lotto, Martirio di santo Stefano, 1513-16, oil on board

Bergamo, Carrara Academy, cm 51 x 97

Lorenzo Lotto, Deposizione di Cristo nel sepolcro, 1513-16, oil on board

Bergamo, Carrara Academy, cm 51 x 97

Lorenzo Lotto, San Domenico resuscita Napoleone Orsini, 1513-16, oil on board

Bergamo, Carrara Academy, cm 51 x 97

Lorenzo Lotto, Due apostoli, 1510-12 circa, ink on paper

Milano, Pinacoteca di Brera, cm 19 x 23

Lorenzo Lotto, Martirio di santa Caterina, circa 1516-17 ink on paper

Venezia, private collection, cm 15 x 20

Lorenzo Lotto, Ritratto di Lucina Brembati, 1521-23 circa, oil on board

Bergamo, Carrara Academy, cm 52,6 x 44,8

Lorenzo Lotto, Nozze mistiche di santa Caterina d’Alessandria e il committente Niccolò Bonghi, 1523, oil on canvas

Bergamo, Accademia Carrara, cm 189,3 x 134,3

Lorenzo Lotto, Sacra famiglia con santa Caterina d’Alessandria, 1533, oil on canvas

Bergamo, Carrara Academy, cm 81,5 x 115,3

Gianfrancesco Capoferri (da disegno di Lorenzo Lotto), La Creazione, 1523, inlay on wood

Bergamo, Luogo Pio Colleoni

Lorenzo Lotto (?), Giuda restituisce i denari, 1525-30, oil on canvas

Milano, private collection, cm 108 x 98

Lorenzo Lotto (?), San Pietro che piange, 1525-30, oil on canvas

Milano, private collection

Lorenzo Lotto, Nozze mistiche di santa Caterina, 1524, oil on canvas

Roma, Gallerie Nazionali di Arte Antica, Palazzo Barberini, cm 98 x 115

Lorenzo Lotto, Assunzione di Maria, 1527, oil on canvas

Celana, Santa Maria Assunta Church, cm 238 x 193

Lorenzo Lotto | Artworks in Bergamo

Sant’Alessandro in Colonna Church

San Bartolomeo Church

Santo Spirito Church

San Bernardino Church

Adriano Bernareggi Museum

Michele al Pozzo Bianco Church

Santa Maria Maggiore Basilica

Lotto and the Carrara Academy. Remarks on the "fortunes" of the artist

Paolo Plebani

A list of places associated with Lotto opens the letter Bernard Berenson sent on 12 May 1895 to Isabella Stewart Gardner,

who was involved together with her husband in a long European tour, having set off in June 1894, that would last more than

a year, spending most of it in Italy. From his room in Villa Kraus overlooking the hills of Fiesole, the promising young

Harvard-educated art historian gave the ambitious collector some useful advice for a visit to the city of Bergamo and its art

gallery.

This letter specifically mentions a number of famous works in the Carrara Academy, although Berenson's first thought,

expressed in a succinct, pithy manner almost as if to indicate that the subject required no any further explanation ("In the

Gallery, the Lottos"), focused on the protagonist of his recent scholarly studies.

Berenson, a few months earlier, had published the first monograph dedicated to Lorenzo Lotto and the artist had for several

years been at the heart of his interests and research, to the extent of becoming the testing ground for Berenson approach to

art history. A few days later, on Saturday 18 may, Isabella and her husband, John L. Gardner, accompanied by a couple of

friends, walked around the halls of the Museum, as shown by their signatures in the Carrara Academy visitors' book.

John Gardner died a few years later, in 1898, and thereafter Isabella dedicated herself to the great dream she had shared

for a long time with her husband: to build a Museum to host the works of art that had and continued to collect obtain thanks

to Berenson's advice. Judging by Isabella's choices as a collector, Lotto never really made a breach in her heart and

Berenson, despite urging his friend on several occasions, was unable to make her buy any painting by the artist.

A letter dated 1 June 1903 is particularly meaningful in this context: Berenson wrote to Isabella proposing the purchase of a

portrait by Lorenzo Lotto - an unidentified painting, despite being described in detail and especially with great enthusiasm.

The proposal was not accepted, to Berenson's great regret who then wrote to his friend on 5 July: Dearest, I almost forgot

to tell you how sorry I am that you will not be buying the Lotto. I think you are very, very, very, very and a thousand more

times "very" mistaken; yet it makes no sense to wish for the Isabella Gardner Museum more than what Isabella Gardner

herself desires. […]

[…] Quickly forgotten after his death, even ridiculed by some of his contemporaries such as Aretino, by the early nineteenth

century, the century of rediscoveries, Lotto was largely ignored. Mention need only be made of the damning and in some

ways ungenerous judgement of German art historian Carl Friedrich von Rumohr, which is even more severe when seen in

the context of his substantially favourable assessment of the Bergamo school of painting.

Lotto had to wait for over half a century before finding a passionate and tenacious supporter of his cause in Bernard

Berenson. While the three editions of the monograph about the artist published by the art historian (1895, 1901 and 1955)

had the merit of definitively consecrating the figure of this painter, the ground for Berenson's research was tilled in the period

from the mid-1800s onwards by several passionate experts of Lotto's work. Bergamo - the jealous guardian of many of the

artist's figurative works - played a far from secondary role in this adventure.

It is no coincidence, for example, that in Autumn 1855 Sir Charles Lock Eastlake, appointed a few months earlier as Director

of the National Gallery in London, attempted to purchase for his Museum the altarpiece that was and still is located over the

main altar of the Church of San Bernardino in Bergamo, engaging Prospero Arrigoni - an intermediary and art dealer who

lived in Borgo San Leonardo - to make an offer to the Trustees of the church. […]

For children, families and schools: workshops and guided tours

coordinated by: Carrara Academy Educational Services

Carrara Academy Educational Services organise activities and initiatives helping to rediscover the important work of this

artist. Adults, children, families, schools: visitors to the exhibition are involved in guided tours and educational workshops.

Mondays are dedicated to adults: educators accompany visitors through theme-based tours, providing an overview of

Lotto's historic-artistic context and contemporary artists together with an interpretation of The Creation inlay's contents and

meanings.

Sundays are dedicated to families: museum educators help visitors discover Lorenzo Lotto's wandering life, his creative

career and the meanings hidden in the wooden inlay.

Guided visits and tours with workshops are also dedicated to schools (primary to and high school): educators help

participants discover Lotto, the travelling artist, and the inlay in Luogo Pio Colleoni by observing it close up; learning by

doing is the keyword for understand the originality of this approach.

information: servizieducativi@lacarrara.it

For groups: guided visits and tourist itineraries

coordinated by: Carrara Academy Museum Development Area

The Carrara Academy seeks to involve different kinds of audience and encourage synergies with the local area and

other parties involved. The Museum Development Area has defined proposals for exclusive visits and tourist

itineraries involving the Museum itself and the Bergamo area in general. These visits ensure a chance for a direct, in-depth

appreciation of Lorenzo Lotto's works; a service also dedicated to companies and associations, designed to meet their

hospitality and representation requirements by taking advantage of additional services such as expert guided tours and

buffet aperitifs. Bergamo and its surroundings offer visitors a great many items of interest: places to discover, traditions to

talk about and speciality delicacies to savour. Thanks to collaboration with several tour operators, the Carrara Academy

offers tours, even over a number of days, which allow participants to enjoy not only the Museum but also the marvels of the

old High town and magical places in the local area, as well as to appreciate Bergamo's hospitality facilities.

information: info@lacarrara.it

#Books4Bricks: The Carrara Academy supports the reconstruction of the "Cola Filotesio" Art Museum in Amatrice

Adding their efforts to the Adopt a Work of art initiative set in motion by Amatrice Town Council, the Carrara Academy

volunteer group will handle sales of books and historic texts in the archives of the Museum on Saturdays and Sundays

throughout the exhibition dedicated to Lorenzo Lotto, from 3 December 2016 to 26 February 2017.

Carrara Academy Foundation

Carrara Academy Foundation was established on 25 June 2015 with the aim of fulfilling, in the light of recent social and

cultural changes, the wishes of Count Giacomo Carrara. In a nutshell, when he set up the Academy in 1796 his intention was

to "promote the study of fine arts in order to benefit the Nation and its People". Old-fashioned deeds and purposes that are

still extremely valid today. And precisely because they are still recognisably up-to-date and important in forming society, a

management model was chosen for Bergamo's outstanding civic heritage ensuring streamlined and effective self-

governance in pursuing attentive preservation alongside modern promotion to the benefit of the community as a whole.

The promoting partner of the Carrara Academy Foundation is Bergamo City council, alongside founding members including

the Credito Bergamasco Foundation, the Emilio Lombardini Foundation, SACBO SpA and co-founders, the MIA Foundation

and Innowatio SpA. Rulmeca Holding SpA is also a partner of the Carrara Academy Foundation.

The Chairman of the Board of Directors is Giorgio Gori, with Miro Radici as Deputy Chairman. Angelo Piazzoli, Corrado

Benigni, Marco Fumagalli and Willi Zavaritt are the other members of the board. The Board of Trustees - also chaired by

Giorgio Gori - comprises Tito Lombardini, Mario Ratti, Fabio Leoncini, Alessandro Cainelli and Ignazio Bonomi.

The Director of the Carrara Academy Foundation is Emanuela Daffra

The Bernareggi Foundation

The Adriano Bernareggi Foundation is associated with the Diocese of Bergamo and carries out cultural activities. The

Institute enjoys very strong bonds with its local area: the birthplace of Caravaggio and Donizetti also adopted Lorenzo Lotto

and is home to authentic jewels of architectural history. This context deserves high-profile promotion through the most

stimulating forms of cultural tradition: art, literature, music and theatre. The Foundation can rely on a team of experts in local

culture and much more besides determined to coordinate the conservation and spread of knowledge on all fronts. A network

of collaborators active in ecclesiastic and secular worlds working together to promote opportunities for cultural growth for

everyone. The Bernareggi Foundation's travelling events held in theatres, schools and parishes are backed up by intense

exhibition and organisational activity staged in three venues of immense historic and artistic value on a structural level and in

terms of content. Three areas dedicated to the preservation of historic and artistic achievements, open to the entire

community. The Bernareggi Foundation seeks to stimulate cultural debate on topics of common interest through various

activities including all major fields of knowledge: from thought to art, education and theatrical performances, from the written

word to social sharing.

The Bernareggi Museum

The building dates to the early 1500s and was designed by the famous architect Pietro Isabello. It was commissioned by

Bartolomeo and Zovanino Cassotti and includes decorations by Donato Fantoni. In 2000, the building was donated to the

Diocese by the Bassi Rathgeb heirs with the express request that it be used as a museum. The museum has 2,800 items,

650 of which are displayed in the halls. There are works by Lotto, Moroni, Rembrandt, Lucas van Leyden and Manzù.

The Cathedral Museum

The Cathedral Museum was inaugurated on 25 August 2012 following eight years of excavations that revealed a paleo-

Christian Cathedral underneath XII century Romanesque cathedral. There is also a I Century AD Roman domus. Today,

these remains are visible to the public thanks to the Foundation in its efforts to enhance awareness of the history of the

Church through the fascinating architectural heritage of the building.

The Oratory of San Lupo

Following the renovation of the former oratory of San Lupo, since 2007 the Berbnareggi Foundation has kept alive an

exhibition project focusing on contemporary art. This is the kind of undertaking that, at least in recent years, has enjoyed

more impact in sector publications, attracting more than 20,000 visitors. The Foundation's commitment to contemporary art

seeks to offer audiences often distant from or even confused by such topics opportunities for straightforward awareness of

the nature, forms and logic of contemporary art.

The MIA Foundation

The MIA was built in Bergamo in 1265 by two Dominicans, Bishop Erbordo and the Blessed Pinamonte da Brembate. Over

time, municipal authorities delegated public assistance and education initiatives to the 'Misericordia'. As the years passed,

the Consortium became an institution of enormous importance not only as a benefactor but also in economic, social, cultural

and educational fields. In 1449, the municipality entrusted to the MIA the Basilica of Santa Maria Maggiore, a civil monument

owned by the City of Bergamo that henceforth became a "very noble and principal part" of the Consortium's administration.

In 1454, a Bull issued by Pope Nicholas V decreed the autonomy of the “Consortium of Misericordia” and withdrew the

Basilica from the jurisdiction of the Bishop, confirming the bond between the MIA and the Basilica itself. Following this union

with the Basilica, donations and bequests multiplied, in exchange for distributing bread to the poor and helping needy

students. The MIA has always dedicated part of its economic resources to the splendour of worship in the Basilica, as well

as to the maintenance and continuous improvement of the building. The admirable choir inlays (designed by Lorenzo Lotto),

the precious Flemish and Tuscan tapestries, the magnificent confessional by Fantoni, the Baroque decorations and all the

decor are the work of the MIA.

The growing need to ensure the officiation of the Basilica in the 16th century prompted the foundation of a school for

choirboys (Academy) which was later transformed into a the Mariano College - the forerunner of the High School in Piazza

Rosate (in this way, Misericordia Maggiore took on the burden of managing the public school in the high town for over two

and a half centuries). Almost every Spring for centuries, having finished their limited supplies in granaries, thousands of

desperate people flooded the city, who they sufficient sustenance from the MIA to survive until the next harvest. At the end

of the 1700s, the French Revolution brought about far-reaching changes and the ancient Consortium became part of the

public administration. During the XIX century, Maestro Giovanni Simone Mayr, time the most famous and important

European composer of the times, conceived the "Pious School of Music" project, which welcomed a number of poor children

who learnt to sing and play instruments. This School achieved excellent results, as regards the status of its students

(Gaetano Donizetti above all) and their performances in Santa Maria. A few years later, the School of Music separated from

the Musical Chapel to become the Gaetano Donizetti Civic Institute of Music. It is still busy and active today in the Chapel of

Santa Maria Maggiore, which is looked after by the MIA. In 1808, MIA became part of the Congregation of Charity and in

1937 of the Council Social Services Department. In December 1978, MIA regained its independence. The most recent

legislation (Regional Law no. 1/2003) the Social Services Institute was converted into a Foundation managed by a Board

comprising nine directors appointed by the Mayor of Bergamo.

Since January 2004, the MIA-Congregazione della Misericordia Maggiore Bergamo took the legal form of a Foundation so

that it could continue – with facilities better suited to today's needs – the mission that has distinguished it over more than

seven centuries of existence: be involved with education, culture, religion and social assistance, in accordance with the

principles of its Statutes whereby (Article 3) the Foundation:

. is a non-profit organisation

. upholds the interests and purposes expressed in the original charter of foundation and statutes

. takes part, in relation to current legislation and in keeping with its Christian inspiration, in the development of the social

system in spheres such as charity-social work, education and training.

More specifically, the Foundation has the following primary and fundamentals goals:

. promote activities involving religious education in full respect of its Catholic Christian origins

. meet the needs of all old and new forms of poverty

. support activities focusing on education and culture on the broadest scale with events promoting the conservation of assets

and traditions, as well as promote new activities and works especially in Bergamo itself and possibly other parts of

Lombardy;

. ensure the officiation, governance and administration of the Basilica of Santa Maria Maggiore-Cappella della Città with

related religious, cultural and educational services, through a special convention with the Diocese of Bergamo;

. maintain, improve and promote alll tangible and intangible assets and manage assets entrusted to it in the best possible

way.

The Carrara Academy

Carrara Academy was set up in Bergamo in 1796 on the wishes of Giacomo Carrara, as a combined School of Art and

Gallery, which became home to his extraordinary collection of paintings. In the course of more than two hundred years,

bequests by great connoisseurs such as Guglielmo Lochis, Giovanni Morelli and Federico Zeri hasve further enriched the

collection. As a commemoration and symbol of Italian art collecting, the Carrara Academy is home to absolute

masterpieces in the history of art that bear witness to five centuries through works by Donatello, Pisanello, Foppa,

Mantegna, Giovanni Bellini, Botticelli, Bergognone, Rapahael, Titian, Baschenis, Fra Galgario, Tiepolo, Canaletto

and Piccio. Among such excellence, the Carrara Academy also boasts the most important corpus in the world of works by

Lorenzo Lotto and Giovan Battista Moroni.

Facts and figures

1 City: Bergamo

1 founder: Giacomo Carrara

1 director: Emanuela Daffra

1 institution: Carrara Academy Foundation

1 main partner: Bergamo City Council

3 founding members: Credito Bergamasco Foundation, Emilio Lombardini Foundation and SACBO SpA

2 co-founders: MIA Foundation and Innowatio SpA

1 partner: Rulmeca Holding SpA

4 major donors: Giacomo Carrara, Guglielmo Lochis, Giovanni Morelli and Federico Zeri

236 other donors, including individuals and institutions

1796 foundation of the Carrara Academy 1.796 paintings in the collection dating between XV and XIX centuries plus 130

sculptures dating from XV and XIX centuries | 2.824 ancient drawings 777 drawings made from the early XIX to the XX

centuries by students of the Carrara Academy 1.632 copies | 62 chalk models, detached frescos, large preparatory drawings

about 7.600 ancient prints | 1.300 ancient books | 976 medals | 221 coins 46 ancient seals | 320 frames | 180 items of

furniture, bronze work, porcelain, goldsmith objects 60 fans | 133 pewter

The big names

Donatello, Pisanello, Antonio Vivarini, Vincenzo Foppa, Andrea Mantegna, Giovanni Bellini, Carlo Crivelli, Sandro

Botticelli, Bergognone, Cima da Conegliano, Vittore Carpaccio, Raphael, Titian, Evaristo Baschenis, Fra Galgario,

Tiepolo, Pittochetto, Canaletto, Piccio, Francesco Hayez, Pellizza da Volpedo. One of the largest corpus in the world of

works by Lorenzo Lotto and Giovan Battista Moroni. Opening Times

9.30 - 17.30 (last admission: 17.00)

closing day: Tuesday

Ticket Prices

€12.00 full price

€10.00 concessions

free admission up to 18 years / discount admission 18-25 years

Carrara Academy

piazza Giacomo Carrara, 82 Bergamo

t. +39 035 270272

www.lacarrara.it

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