Corpo Collection

Inferno, Canto 7 : Virgil shows Dante the souls of the wrathful in the Styx
GIA745738 Inferno, Canto 7 : Virgil shows Dante the souls of the wrathful in the Styx, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Apollo and Marsyas (oil on canvas, 1618. )
LRI4607208 Apollo and Marsyas (oil on canvas, 1618.) by Guercino (Giovanni Francesco Barbieri) (1591-1666); Palatine Gallery, Pitti Palace, Florence; (add.info.: Apollo and Marsyas)

I want to le human forms in movement (Dynamic Decomposition), 1913 (black pencile, black ink)
6366702 I want to le human forms in movement (Dynamic Decomposition), 1913 (black pencile, black ink, white tempera and white w/c on paper) by Boccioni

I want to le human forms in movement (Muscles in movement), 1913 (black pencile, black ink)
6366701 I want to le human forms in movement (Muscles in movement), 1913 (black pencile, black ink, white tempera and white w/c on paper) by Boccioni

Death standing on a sarcophagus where the dead Pope and the Emperor lie, detail from the Triumph of Death
2655029 Death standing on a sarcophagus where the dead Pope and the Emperor lie, detail from the Triumph of Death and Dance of Death, 1485 (fresco) by Borlone de Buschis

Triumph of Death and Dance of Death, 1485 (fresco)
2655013 Triumph of Death and Dance of Death, 1485 (fresco) by Borlone de Buschis, Giacomo (fl.1462-1485); Oratorio dei Disciplini, Clusone, Bergamo, Italy; (add.info.: Clusone)

Death standing on a sarcophagus where the dead Pope and the Emperor lie, detail from the Triumph of Death
2655019 Death standing on a sarcophagus where the dead Pope and the Emperor lie, detail from the Triumph of Death and Dance of Death, 1485 (fresco) by Borlone de Buschis

Death standing on a sarcophagus where the dead Pope and the Emperor lie, detail from the Triumph of Death
2655014 Death standing on a sarcophagus where the dead Pope and the Emperor lie, detail from the Triumph of Death and Dance of Death, 1485 (fresco) by Borlone de Buschis

"The Guidonian hand"Page from "De musica tractatus"by Bartolomeo Ramos de Pareia (1440-1491)
LRI557785 " The Guidonian hand" Page from " De musica tractatus" by Bartolomeo Ramos de Pareia (1440-1491) by Italian School

"The Guidonian hand"Frontispiece from "Tractatus musices"
LRI557783 " The Guidonian hand" Frontispiece from " Tractatus musices". by Italian School, (15th century); Museo internazionale e biblioteca della musica, Bologna, Emilia-Romagna

Lekythos in style Gnathian, Female figure seated on a diphros, She is holding a mirror
LRI741015 Lekythos in style Gnathian, Female figure seated on a diphros, She is holding a mirror, from Taranto district Lupoli, Italy by Greek School

Statuette of a Dioscuri (= Dioscorus), gap on left hand
LRI741089 Statuette of a Dioscuri (= Dioscorus), gap on left hand, probably carried a spear in his right hand by Greek School, (4th century BC); height: 45 cm; Museo Archeologico Nazionale, Naples

"The Guidonian hand"Page from the essay
LRI557794 " The Guidonian hand" Page from the essay Principium et ars totius musicae" by Francesco Ferrarese by Italian School

Planetary and zodiacal diagram of the left hand, from Oeuvres Diverses
XEE746086 Planetary and zodiacal diagram of the left hand, from Oeuvres Diverses by Jean Belot, 1649 (woodcut with later colouration) by French School

Inferno, Canto 6 : The gluttons battered by eternal rain
GIA745735 Inferno, Canto 6 : The gluttons battered by eternal rain, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 15 : Brunetto Latini accosts Dante, illustration from
GIA745703 Inferno, Canto 15 : Brunetto Latini accosts Dante, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 5 : The souls of Paolo and Francesca, illustration from
GIA745730 Inferno, Canto 5 : The souls of Paolo and Francesca, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 7 : The souls of the avaricious and the prodigal forced to roll heavy
GIA745737 Inferno, Canto 7 : The souls of the avaricious and the prodigal forced to roll heavy stones, illustration from The Divine Comedy by Dante Alighieri

Inferno, Canto 18 : Virgil shows Dante the shade of Thais
GIA745708 Inferno, Canto 18 : Virgil shows Dante the shade of Thais, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Statue of Zeus
LRI741038 Statue of Zeus, by Greek School, (5th century BC); 74 cm; Museo Archeologico Nazionale, Taranto, Apuglia, Italy; (add.info.: The male figure, with legs apart)

Statue of Zeus, From Ugento, Bronze sculpture surmounting a Doric capital with abacus
LRI741016 Statue of Zeus, From Ugento, Bronze sculpture surmounting a Doric capital with abacus decorated with a series of rosettes, by Greek School, (5th century BC); 74

Inferno, Canto 18 : Devils and seducers, illustration from The Divine Comedy
GIA745706 Inferno, Canto 18 : Devils and seducers, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

"The Guidonian hand and a luth"Page from an anonymous essay
LRI557791 " The Guidonian hand and a luth" Page from an anonymous essay by Italian School, (16th century); Museo internazionale e biblioteca della musica, Bologna, Emilia-Romagna

"The Guido d Arezzo hand"Page from "Regula musica"
557649 " The Guido d Arezzo hand" Page from " Regula musica" by Bonaventura da Brescia (c. 1452-c. 1517) by Italian School

The Guardian Angel (oil on canvas, 17th century)
LRI4607167 The Guardian Angel (oil on canvas, 17th century) by Guercino (Giovanni Francesco Barbieri) (1591-1666); Pinoteca Civica di Fano, Fano

Inferno, Canto 9 : The hideous Erinyes: Megaera, Tisiphone, Alecto (Furies : Megere
GIA745715 Inferno, Canto 9 : The hideous Erinyes: Megaera, Tisiphone, Alecto (Furies : Megere, Tisiphone, Alecto), illustration from The Divine Comedy by Dante Alighieri

Inferno, Canto 18 : Paramours and flatterers in the eighth circle
GIA745707 Inferno, Canto 18 : Paramours and flatterers in the eighth circle, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Headless torso of a warrior (?), Missing part of the lower limbs
LRI741046 Headless torso of a warrior (?), Missing part of the lower limbs, the left arm and the entire right half of the body, from Metaponto urban Sanctuary by Greek School

Inferno, Canto 8 : The soul of the Florentine Philippo Argenti (Filippo Argenti
GIA745713 Inferno, Canto 8 : The soul of the Florentine Philippo Argenti (Filippo Argenti) accosts the poets on the Styx, illustration from The Divine Comedy by Dante Alighieri

Statuette portraying Apollo, from Ceglie del Campo (Bari)
LRI741063 Statuette portraying Apollo, from Ceglie del Campo (Bari) by Greek School, (5th century BC); 25. cm; Museo Archeologico Nazionale Jatta, Ruvo di Puglia, Bari, Apulia

Milan. Italy. The Science and Technology Museum Leonardo da
The Science and Technology Museum Leonardo da Vinci. Ancient monastery of San Vittore al Corpo. Cloister. Milan. Italy

Studies Arms Shoulders Hands 1548-1628 Pen
Artokoloro

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"Corpo: A Captivating Journey through Art and History" Embark on a mesmerizing journey as we explore the concept of "corpo, " delving into various artistic masterpieces that depict the human form in all its glory, pain, and vulnerability. In Apollo and Marsyas, witness the intense struggle between divine beauty and mortal talent captured on canvas in 1618. The Saint Sebastian painting by Jusepe de Ribera takes us to Naples in 1651, where the martyr's torment is vividly portrayed with haunting realism. Travel back to ancient Egypt as we encounter prisoners brought before Pharaoh Ramses II, facing a gruesome fate of having their hands severed. This colored engraving from 1866 serves as a chilling reminder of humanity's capacity for cruelty. Dante Alighieri's Inferno comes alive through digitally colored engravings from 1885, revealing violent souls tormented amidst rainfire. Meanwhile, Dynamic Decomposition (1913) showcases human forms in movement—a testament to the artist's fascination with capturing life's fleeting moments. The Triumph of Death and Dance of Death frescoes transport us to 1485 when death stood upon sarcophagi housing deceased Popes and Emperors—an eerie yet thought-provoking depiction of mortality's inevitability. Finally, Bartolomeo Ramos de Pareia’s "De musica tractatus" introduces us to "The Guidonian hand, " an intricate page from this musical treatise dating back to the late fifteenth century—highlighting how art transcends mediums across time. Through these diverse artworks spanning centuries, we are reminded that corpo encompasses not only physicality but also emotions, struggles, triumphs—a reflection of our shared human experience throughout history.