Quipu

Marini Montesoro M. 1957 donazione

ambito incaico

counting instrument

knife sheath

Collezione Missioni Cattoliche Americane 1893

XIX - 1891 - 1900

C.A.515

Canada

Si utilizzavano due pelli conciate tagliate secondo la forma della lama che vi doveva essere inserita, e cucite insieme. La superficie del fodero poteva essere decorata con conterie di vetro policrome, frange, borchie, sonagli metallici e aculei di porcospino, che venivano divisi a seconda della misura, ammorbiditi in bocca e, presso alcune tribù, spaccati; quindi erano appiattiti con i denti o con le unghie. Per la conciatura la pelle veniva tesa su dei pioli e con un raschiatoio si eliminavano residui di carne e cartilagini, quindi veniva lasciata stesa al sole ad asciugare per parecchi giorni. A questo punto la pelle veniva capovolta per rimuovere il pelo, tenuta a mollo e strofinata con una mistura di grassi animali per ammorbidirla. dopo averla lasciata nuovamente ad asciugare, veniva stirata e lavorata sulle due facce con una correggia ritorta di cuoio grezzo.

Contenere il coltello

Scabbard made from two pieces of leather sewn together. Front surface entirely covered with green, orange, red, pink, light blue and blue glass beads forming concentric geometric diamond patterns within a perimeter formed by two rows of transparent white beads. A border of orange, blue and pink conteries in alternating bands covers the seam of the scabbard and the hem of the opening. On the back, a strip of leather sewn vertically allows the scabbard to be inserted into the belt.

Hoshi suji Kabuto

ambito giapponese

war helmet

Cementoarmato

Maria Cernuschi Ghiringhelli 1990

Uncini, Giuseppe

1960 - 1960 - XX

759

Unità di misura: cm; Altezza: 61,5; Larghezza: 61,5

Cemento e ferro

Astrattismo in Italia nella raccolta Cernuschi Ghiringhelli - Villa Croce, Genova - 1985<br>Esposizione personale - Galleria L'Attico, Roma - 1961

Uncini's first Cementarmato dates from 1958, when he moved to Rome. In an interview given by Uncini himself in 1968 in relation to this work, the artistic and design line is described - the use of industrial materials (cement and iron rod) is not determined by material interests but by the need to overcome the distinction between surface and support. The artist seeks to go beyond the pictorial surface in order to intervene in space with an absolutely new technique; creating not a new expression, but through self-representing and self-signifying objects - The structure of reinforced concrete is thus assumed by the artist as an already existing reality that contains within itself the principle of form, both flat and three-dimensional, and the opposition between fullness (the concrete) and emptiness (the space designed by the iron rods) in the search for an object that represents itself independently of social reality.

Natura ferita

Collezione LAB - Laboratorio Bassa Lunigiana 2001

Uecker, Günther

- XX

2506

Unità di misura: cm; Altezza: 70; Larghezza: 50

carboncino, matita, cenere, colla su carta

After his art studies in Germany, Uecker joined the Zero Group in 1957. The surface covered with nails stands as an antithesis to the painted surface and at the same time allows the artist to explore the articulation of light through the shadows created by the nails. The work in the Museum's collections is part of this field of research. The juxtaposition of the pine trunk treated on its surface with glue and ash as if to protect its integrity, with the violent and destabilising presence of the nails driven into the upper part of the trunk. A nature that recalls the artist's sign - gesture and makes explicit his ironic and desecrating will in reference to the environment and its mistreatment by mankind. In addition to the sculpture, the preparatory drawing is also in the collection. With charcoal and pencil, Uecker draws in a gestural and almost violent manner the design that he will realise three-dimensionally.

Sovrapporta con San Giorgio

1887 - acquisto

Gagini, Giovanni

MSA 527

Unità di misura: cm; Altezza: 81; Larghezza: 206.5; Profondità: 15

ardesia scolpita- incisa

Slate superstructure depicting St. George on horseback with sword raised in the intent to slay the dragon, while the princess with raised arms observes the scene. On either side of St. George are two totally obliterated heraldic arms: only the helmets with cat figures as crests are preserved. Coming from the collection of sculptor Santo Varni, it was originally placed in Palazzo Fieschi in Piazza San Lorenzo.

octant

4642

Tipo di misura: diametro; Unità di misura: cm; Valore: 60; Profondità: anello massimo; Tipo di misura: altezza; Unità di misura: cm; Valore: 80; Profondità: ottica completa

vetro/ bronzo

Fronte del sarcofago di Pagano Doria

Scultore lombardo attivo a Genova

MSA 43

Unità di misura: cm; Altezza: 90; Lunghezza: 233

marmo

Gioco del Biribis

Matteo Luxoro 1945 - legato

manifattura genovese

M.G.L. 220

Unità di misura: cm; Altezza: 66; Larghezza: 91

olio su tela

drawing

Mercato antiquario

Agnese, Battista

3373

Unità di misura: cm; Altezza: 34; Larghezza: 47

pergamena- inchiostro

From the middle of the 13th century, small communities from all over Liguria settled on the coast of the Black Sea. The overseas Genoese made up more than 80% of the western population of those lands. Cities such as Soldaia, Pera and Caffa, experienced exceptional development, built walls and resisted the assaults of the Greeks and Mongols, although two centuries later they did fall into the power of the Ottomans, who were superior in numbers, ships and firepower. The Genoese coexisted with the Orientals, not integrating, converting or subduing them as was the logic of 19th century colonialism. The Genoese colonies in the Black Sea were the privileged meeting point between the world of the steppe and the forest and the Mediterranean merchant cities, places where the most important local resources - wax, honey, furs, cereals, even slaves - were traded in exchange for cloth, canvas, wine.