Brera Pinacoteca of Milan
History of Brera's Pinacoteca and his masterpieces
Via Brera, 28 - Milano
from Tuesday to Sunday 8:30-19:15
the ticket office close 45 minutes before.
How to reach
MM2 (subway green line) Lanza station
MM3 (subway yellow line) Montenapoleone station
€ 2,50 reduced
individuale € 3,50
with double headphone € 5,00
for groups over 10 people (max 25) a € 1,50 to person
for schools (free)
Tour with guide for groups:
language different from italian language € 100
italian language € 83
for schools € 62
The Palace has built on an ancient fourteenth-century convent of the order of the Humiliated ones, and subsequently passed to the Jesuits that established a school.
The actual Palace of the Brera’s Pinacoteca is of Six hundred, and is a Francesco’s Maria Ricchini work, with Giuseppe’s Piermarini completions in the following century.
In the eight hundred the courtyard has been enriched with the statue in bronze of Napoleone I as reconciler Mars.
Subsequently the loggias, courtyards, halls and corridors were destined to the monuments that publicly celebrated artists, benefactors, men of culture and science, connected at the institution of Brera. Today the best examples, as the two monuments at Cesare Beccaria of Pompeo Marchesi and Giuseppe Parini of Gaetano Monti, remain.
In the palace typically of the slow Baroque lombardos, have center, besides the Pinacoteca of Brera, different cultural institutions: the Library, the astronomic observatory, the Botanical garden, the Lombardo Institute of Sciences and Letters, and the Belle Arti Academy.
The collections of the Pinacoteca of Brera are born from the concentration of paintings requisite following emanation of suppression laws about churches and convents in the Napoleonic age (1798) and got rich when the Belle Arti Academy was assigned to collaborate. So a series of portraits and self-portraits of painters were exposed in the four rooms to the first floor and some works that will become the symbol of the museum:
The Wedding of the Virgo (1504) of Raffaello;
The Madonna with his Child (1510) of Gentile Bellini;
The Crucifixion di Bramantino.
With the crowning of Napoleone (1805), the most important paintings by the departments of the Kingdom flowed in the Pinacoteca. Many works from Veneto, some paintings of the Carracci, Guido Reni, Francesco Albani and Guercino reached Brera
To put right the showy absences of Leonardo and Raffaello, twenty-three paintings and designs were withdrawn from archiepiscopal curia of Milan.
In 1813, thanks to an accord with the Museum of the Louvre, five paintings of Rubens, Joardens, Van Dyck and Rembrandt to represent the Flemish school of the XVII century reached Brera.
In the same years frescos of Bernardino Luini, Gaudenzio Ferrari, Vincenzo Foppa, Borgognone and Bramantino came from various churches the giving origin so to one of the most greater collections.
From 1815, with the restoration, the increase of the collections continued with a reduced rhythm but constant. Among these the famous Christ Dead of Mantegna, and The Madonna of the Roseto of Luini, reaches Brera in 1826.
In 1882 the Brera’sPinacoteca was made autonomous and separated from the Belle Arti Academy which big part of the nineteenth-century paintings was submitted. The museum was entirely rearranged and enlarged, thanks also to purchases of fundamental works. .
From 1898 to 1903 the physiognomy of the Pinacoteca was adjusted to the new expositive criterions: the works were in ordinates for schools and in chronological order, and the acquisitions of works continued up to the second world war, when they came in Pinacoteca important works of Correggio, Pietro Longhi, Piazzetta, Tiepolo, Canaletto and Fattori, as well as the Supper in Emmaus of Caravaggio and The Vine-trellis of Silvestro Lega, purchased thanks to the Friends of Brera Association and the Milanese Museums.
The renewed museum and inaugurated in the of 1950, it assumes a modern character, fruit also of you calculate setting and of technological updating. With the enlargement of museum in the eighteenth-century Citterio Palace, the Pinacoteca purchased new spaces extending itself in the so-called astronomer apartment with most greater Italian artists works of first nine-hundred, as Boccioni, Braque, Carrà, De Pisis, Marino Marini, Modigliani and Morandi In the eighties a new order museografico for Brera is studied, characterized by inedited and innovative materials.