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Culture is a way of life, of behavior, the realization of human research in the many forms it takes on. Culture is inner growth, evolution and change. Giacomini Investimenti supports and promotes contemporary art and culture in its various expressions, helping to create virtual and non-virtual discussion places on contemporary art and on the positive effects that cultural development has for a country.
The popularization of contemporary artistic production is a goal for Giacomini Investimenti: the modern expressive language as an interpreter of reality, a driver for development and change.

News Art and Culture

Paths of Collection: from Mantegna to Natalia Goncharova

from June 2012 to January 2013.


In the lovely spaces of Cappella Portinari, inside the Sant’Eustorgio Museum, until January 2013 it will be possible to visit the exhibition “Paths of collection, the stages of a collection: from Mantegna to Natalia Goncharova” curated by Elisabetta Fadda and Andrea Muzzi.
Andrea Mantegna, Parmigianino, Jan Van Scorel, Biagio Pupini, Girolamo da Carpi, Girolamo Mirola, Joos van Winghe, Andreani, Karel Van Mander, Bartolomeo Cesi, Lucio Massari, Giovanni Battista Vanni, Alessio Gimignani, Salvator Rosa, Raymond Lafage, Philips Wouwerman, Adriaen van der Kabel, Théobald Michau, Donato Creti, Vittorio Maria Bigari, Domenico Maria Fratta, Giuseppe Varotti, Ubaldo Gandolfi, Giovambattista Tiepolo, Richard Parkers Bonington and Natalia Goncharova.

Cenni storici

Visible by accessing the Sant’Eustorgio Museum, it owes its name to Pigello Portinari (1421-1468), who moved to Milan in 1452 to assume the direction of the Lombard branch of the Medici Bank.
Around 1462 he started the project of the construction of a chapel dedicated to Saint Peter Martyr.
The date of completion of the work is unanimously considered 1468, since, in October of that year, the client was buried there. Its architectural structure, with a central plan, derived from the Florentine models, was attributed for centuries to Tuscans architects. More recent research leans towards attributing it, on the basis of precise instructions from the client, to a figure of Lombard area, to emphasize adherence to the Medici dynasty.
Only after the discovery of the frescoes (1868), which took place in conjunction with the repair work involving the entire basilica, and subsequent restoration (1871-73), the name of Vincenzo Foppa was suggested for the first time.

Photo gallery

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