Madonna della Misericordia by Piero della Francesca. Milan

Palazzo Marino. Milan /December 2016 / Civita

Madonna della Misericordia by Piero della Francesca. Milan

Palazzo Marino. Milan /December 2016 / Civita


Towards the artwork: a lay procession
“Adapting the eye and the mind to understand the structure and the genesis of a great masterpiece, this is the aim of the approaching path designed for the exhibition of the “Madonna della Misericordia” at Palazzo Marino in Milano.”

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“A narrative, meaningful itinerary, made of light and dynamism, which combines different heights and prospects in order to bring the visitors to face to face with the painted panel, with its being part of the polyptych that encloses it and with its history.
In its conception this process is viewed as a sort of lay precession towards an understanding of one of Piero della Francesca’s masterpieces.
An approach structured into four successive moments that, through dynamic scenic and narrative sequences gradually reveals and contextualizes the work.
All of it aimed at bringing visitors to a place where they can personally measure, explore and observe, before arriving at the sight of the ‘unvarnished’ work, underlined in all its value by the light alone.”

Ico Migliore and Mara Servetto


photo by Leo Torri

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Towards the artwork: a lay procession
“Adapting the eye and the mind to understand the structure and the genesis of a great masterpiece, this is the aim of the approaching path designed for the exhibition of the “Madonna della Misericordia” at Palazzo Marino in Milano.
A narrative, meaningful itinerary, made of light and dynamism, which combines different heights and prospects in order to bring the visitors to face to face with the painted panel, with its being part of the polyptych that encloses it and with its history.
In its conception this process is viewed as a sort of lay precession towards an understanding of one of Piero della Francesca’s masterpieces.
An approach structured into four successive moments that, through dynamic scenic and narrative sequences gradually reveals and contextualizes the work.
All of it aimed at bringing visitors to a place where they can personally measure, explore and observe, before arriving at the sight of the ‘unvarnished’ work, underlined in all its value by the light alone.”

Ico Migliore and Mara Servetto


photo by Leo Torri

ltr-fd-006
ltr-fd-031
ltr-fd-023
ltr-fd-054
ltr-fd-025
ltr-fd-046
ltr-fd-077
piero-della-francesca_sketch-by-migliore_miglioreservetto-architects-n
ltr-fd-019
ltr-fd-101

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