Artist:
Luigi Cagnola
Title:
Porta Sempione, Simplon Gate, Arco della Pace
Year:
1807
Adress:
Piazza Sempione
How to make monumentality?
One of the most classic works in honor of the conqueror is a monument like Porta Sempione by Luigi Cagnola. The monumentality is enforced by the size, the experience of being tiny when moving underneath the monument, the use of sustainable materials, the ascending lines that end up onto classic images of warriors of the highest rank that move themselves with horses.
By Theo, www.artatsite.com
Compared with other artworks
Forming together a column by perfect circles laying portrait and landscape and perfect spherical elements in between: Fontana Camerlata by Mario Cesare Cattaneo (Milan, picture 1, more information). Together with additional elements, the may have meanings like remembrance, positivity, strength, pride. The meanings are so general that it can be interpreted and made concrete in many ways.
My impression is that a work like Monumento Resistenza by Anna Praxmayer (Milan, picture 2, more information) with a person and birds, has impact on people who are less familiar with art. This is because the work has some recognizable elements which meanings to be assigned like: running, raised hands, looking up, long hair, birds flying to all directions. This artwork rather expresses a personal or a national victory.
Because of the use of modern and colorful materials in Wonderline by Francesco Roggero (Milan, picture 3, more information) the artwork relates to an enjoyable recent event. Because of choice of the bright colors, the limited durability of the material, the reference to practical items like a sail, this artwork refers rather to mundane than to essential topics.
The artwork Amsterdam Dankt Zijn Canadezen by Jan de Baat (Amsterdam, picture 4, more information) refers to the liberation and the first moment of happiness. If it had also been the intention to commemorate the impact of liberation, there would have been made a more monumental artwork.
By Theo, www.artatsite.com
www.claudiachiari.com:
Fermata d’obbligo all’Arco della Pace. Iniziato nel 1807 da Luigi Cagnola per volontà di Napoleone I, fa l’eco al parigino Arco di Trionfo, e si trova al termine di un tracciato immaginario che collega Milano alla Ville Lumière tramite il passo Sempione e non è certo un caso che l’adiacente corso Sempione richiami gli Champs Elysées. L’Imperatore francese però non ne vide mai la fine, tanto che il marmoreo arco e la sua sestiga di bronzo furono completati successivamente, a celebrazione della pace europea del 1815.
Translation
Obligation to stop Arco della Pace. Started by Luigi Cagnola in 1807 by Napoleon I, is an echo to the Parisian Arc de Triomphe, and lies at the end of a path that connects Milan to the city of light through the Simplon Pass and it is certainly no coincidence that the adjacent corso Sempione recalls the Champs Elysées. The French Emperor but never saw the end, so that the arc and its marble sestiga brazen were completed later, in celebration of the peace of 1815.
www.wikipedia.org:
L'opera venne progettata da Luigi Cagnola. I lavori iniziarono nel 1807, vennero diretti dallo stesso Cagnola e supervisionati da Domenico Moglia, Nicola Pirovano, Francesco Peverelli e Bai Gio Battista, sotto la spinta del comune di Milano e di Napoleone. L'opera era oramai a due terzi e diverse statue erano già terminate, come quelle della Storia e della Poesia, eseguite dal neoclassico Luigi Acquisti, quando, con la caduta del Regno Italico, il progetto venne abbandonato. Solo nel 1826 venne ripresa la riedificazione dell'edificio sotto l'imperatore asburgico Francesco I d'Austria, che lo dedicò alla pace che aveva riunito le diverse potenze europee nel 1815. Dopo la morte di Luigi Cagnola, avvenuta nel 1833, la direzione dei lavori passò nelle mani di Carlo Giuseppe Londonio che lo completò nel 1838[5], in tempo perché alla cerimonia di inaugurazione partecipasse Ferdinando I, Imperatore d'Austria e re del Lombardo-Veneto. L'8 giugno 1859, quattro giorni dopo la vittoria di Magenta, vi fecero il loro ingresso trionfale in Milano Napoleone III e Vittorio Emanuele II, fra le acclamazioni della folla. Il monumento, in marmo di Crevola, è alto 25 metri e largo 24.
Translation
The work was designed by Luigi Cagnola. Work began in 1807, were directed by Cagnola and supervised by Domenico Moglia, Nicola Pirovano, Francesco Peverelli and Bai Gio Battista, under the impetus of the city of Milan and of Napoleon. The work was now two thirds and several statues were already finished, like those of history and poetry, performed by Luigi Acquisti neoclassical, when, with the fall of the Italic Kingdom, the plan was abandoned. In 1826 he was shooting the rebuilding of the building under the Hapsburg emperor Francis I of Austria, who dedicated it to the peace it had brought together the different European powers in 1815. After the death of Luigi Cagnola, died in 1833, the direction of the work passed into the hands of Carlo Giuseppe Londonio that completed in 1838 [5], in time for the inauguration ceremony participated Ferdinand I, Emperor of Austria and King of Lombardy-Venetia. The June 8, 1859, four days after the victory of Magenta, you made their triumphant entrance in Milan Napoleon III and Victor Emmanuel II, among the cheers of the crowd. The monument, marble of Crevola, 25 metres tall and wide 24.
One of the most classic works in honor of the conqueror is a monument like Porta Sempione by Luigi Cagnola. The monumentality is enforced by the size, the experience of being tiny when moving underneath the monument, the use of sustainable materials, the ascending lines that end up onto classic images of warriors of the highest rank that move themselves with horses.
By Theo, www.artatsite.com
Compared with other artworks
Forming together a column by perfect circles laying portrait and landscape and perfect spherical elements in between: Fontana Camerlata by Mario Cesare Cattaneo (Milan, picture 1, more information). Together with additional elements, the may have meanings like remembrance, positivity, strength, pride. The meanings are so general that it can be interpreted and made concrete in many ways.
My impression is that a work like Monumento Resistenza by Anna Praxmayer (Milan, picture 2, more information) with a person and birds, has impact on people who are less familiar with art. This is because the work has some recognizable elements which meanings to be assigned like: running, raised hands, looking up, long hair, birds flying to all directions. This artwork rather expresses a personal or a national victory.
Because of the use of modern and colorful materials in Wonderline by Francesco Roggero (Milan, picture 3, more information) the artwork relates to an enjoyable recent event. Because of choice of the bright colors, the limited durability of the material, the reference to practical items like a sail, this artwork refers rather to mundane than to essential topics.
The artwork Amsterdam Dankt Zijn Canadezen by Jan de Baat (Amsterdam, picture 4, more information) refers to the liberation and the first moment of happiness. If it had also been the intention to commemorate the impact of liberation, there would have been made a more monumental artwork.
By Theo, www.artatsite.com
www.claudiachiari.com:
Fermata d’obbligo all’Arco della Pace. Iniziato nel 1807 da Luigi Cagnola per volontà di Napoleone I, fa l’eco al parigino Arco di Trionfo, e si trova al termine di un tracciato immaginario che collega Milano alla Ville Lumière tramite il passo Sempione e non è certo un caso che l’adiacente corso Sempione richiami gli Champs Elysées. L’Imperatore francese però non ne vide mai la fine, tanto che il marmoreo arco e la sua sestiga di bronzo furono completati successivamente, a celebrazione della pace europea del 1815.
Translation
Obligation to stop Arco della Pace. Started by Luigi Cagnola in 1807 by Napoleon I, is an echo to the Parisian Arc de Triomphe, and lies at the end of a path that connects Milan to the city of light through the Simplon Pass and it is certainly no coincidence that the adjacent corso Sempione recalls the Champs Elysées. The French Emperor but never saw the end, so that the arc and its marble sestiga brazen were completed later, in celebration of the peace of 1815.
www.wikipedia.org:
L'opera venne progettata da Luigi Cagnola. I lavori iniziarono nel 1807, vennero diretti dallo stesso Cagnola e supervisionati da Domenico Moglia, Nicola Pirovano, Francesco Peverelli e Bai Gio Battista, sotto la spinta del comune di Milano e di Napoleone. L'opera era oramai a due terzi e diverse statue erano già terminate, come quelle della Storia e della Poesia, eseguite dal neoclassico Luigi Acquisti, quando, con la caduta del Regno Italico, il progetto venne abbandonato. Solo nel 1826 venne ripresa la riedificazione dell'edificio sotto l'imperatore asburgico Francesco I d'Austria, che lo dedicò alla pace che aveva riunito le diverse potenze europee nel 1815. Dopo la morte di Luigi Cagnola, avvenuta nel 1833, la direzione dei lavori passò nelle mani di Carlo Giuseppe Londonio che lo completò nel 1838[5], in tempo perché alla cerimonia di inaugurazione partecipasse Ferdinando I, Imperatore d'Austria e re del Lombardo-Veneto. L'8 giugno 1859, quattro giorni dopo la vittoria di Magenta, vi fecero il loro ingresso trionfale in Milano Napoleone III e Vittorio Emanuele II, fra le acclamazioni della folla. Il monumento, in marmo di Crevola, è alto 25 metri e largo 24.
Translation
The work was designed by Luigi Cagnola. Work began in 1807, were directed by Cagnola and supervised by Domenico Moglia, Nicola Pirovano, Francesco Peverelli and Bai Gio Battista, under the impetus of the city of Milan and of Napoleon. The work was now two thirds and several statues were already finished, like those of history and poetry, performed by Luigi Acquisti neoclassical, when, with the fall of the Italic Kingdom, the plan was abandoned. In 1826 he was shooting the rebuilding of the building under the Hapsburg emperor Francis I of Austria, who dedicated it to the peace it had brought together the different European powers in 1815. After the death of Luigi Cagnola, died in 1833, the direction of the work passed into the hands of Carlo Giuseppe Londonio that completed in 1838 [5], in time for the inauguration ceremony participated Ferdinand I, Emperor of Austria and King of Lombardy-Venetia. The June 8, 1859, four days after the victory of Magenta, you made their triumphant entrance in Milan Napoleon III and Victor Emmanuel II, among the cheers of the crowd. The monument, marble of Crevola, 25 metres tall and wide 24.