Presentazione Archivio Fotografico Marchese Alessandro Bruti Liberati - Teatro Luigi Mercantini 24 Giugno 2023 Ore: 10:00

Il fotografo marchese Alessandro Bruti Liberati (Ripatransone 1844 - 1914) si dedica con costanza e prolificità alla fotografia per gran parte della sua vita. Il suo sguardo è rivolto principalmente agli aspetti della vita quotidiana della sua città e di altre località limitrofe - ai loro abitanti, ai riti civili e religiosi, alle architetture e alle trasformazioni in atto nella società tra i secoli XIX E XX.

Il marchese Alessandro Bruti Liberati negli anni tra il 1880 e il 1913 ca. produsse una importante mole di scatti fotografici, di cui oggi si conservano poco meno di tremila negativi.

Il suo sguardo fotografico, comune a molti suoi contemporanei, era rivolto principalmente agli aspetti della vita quotidiana del proprio paese, Ripatransone, ai suoi abitanti, ai riti civili e religiosi, oltre che alle architetture della medesima cittadina e di altre località limitrofe tra cui le vicine Cupra Marittima, Grottammare, San Benedetto del Tronto, Montedinove, Porchia, Spinetoli, Acquaviva Picena, Ascoli Piceno, Fermo e le più remote, per l’epoca, Roma, Chieti, Padova, Mestre, Venezia e Trieste.

Una selezione delle sue fotografie è stata oggetto di pubblicazioni negli anni 1987 e 2004 ma il fondo non è mai stato studiato nella sua integrità.

Archivio Fotografico Marchese Alessandro Bruti Liberati

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The Gleaner of Sapri's Manuscript (Written by the poet Luigi Mercantini)

At the top floor of the museum there is the original manuscript of The Gleaner of Sapri, Written by Luigi Mercantini. "They were three hundred, they were young and strong, and they died." This is the famous refrain of what is probably one of the most famous poems of the Risorgimento, the gleaner of Sapri, composed by Luigi Mercantini in memory of the enterprise attempted by Carlo Pisacane in 1857 to unification Italy. In these sections of the Historical Museum is dedicated to the poet Risorgimento Luigi Mercantini with an Historical Ethnographic Collection. This floor, dedicated to the Italy of nineteenth, allows visitors to immerse themselves during the time of National Unity, capturing the feelings that animated the young patriots who infuocavano the Italian Province. Songs and poems encouraged the barricades and political struggles of an Italy that joining was preparing to enter Europe. Sapri The Gleaner of Sapri Luigi Mercantini (1821–1872) Ano...

Christ on the Sepulchre Madonna and Child Enthroned between Saints Sebastian and Cosmas Saint Lucy

Pietro Alamanno (Choetbei, between 1430 and 1440 – Ascoli Piceno, 1498) was an Italian Renaissance painter and sculptor of Austrian origin. Montefortino, Fortunato Duranti Art Gallery Description At the top is the suffering Christ, partially in the tomb, with the instruments of the Passion hanging on a wooden panel against a red background to highlight it. The Madonna is seated on a throne, praying and looking at her Son, who is resting on her knees. On the left is Saint Sebastian, pierced by numerous arrows and looking at the baby Jesus. On the left there is Saint Cosima, wearing a red turban and holding a house in her hands. Saint Lucy is the only saint who looks at the observer; we see her holding a tray with her eyes and the palm of her martyrdom.

Our Lady of Mercy with Saints Ginesius and Vincent Ferrer Tempera on Panel By: Pietro Alemanno (1430 - 1498) Renaissance Painter San Ginesio (MC) Collegiate Church

Description This painting was painted in 1485, when many people in San Ginesio were falling ill and dying from the plague. In the centre there is the Madonna who wears a large cloak, beneath there are people praying for her protection. Outside the cloak some people are pierced by arrows and dying, guilty of not believing in God. The sky is dark, and on either side are two groups of monstrous-looking demons, spewing hailstones at the people. On the far left there is a devil blowing a hunting horn, a symbol of war and hunting. On the far right are devils with bows and arrows. In the background there is an urban area. Why San Ginesio? He is the protector of San Ginesio and Vincenzo Ferrer, a Dominican friar who is invoked against the plague.

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