Ivan Bruschi - House museum of Antiques - Arezzo
It is in this context should be seen as action at enhancing and increasing the collections owned by the Foundation, in order to remain faithful to the original idea that led to the action of Bruschi throughout his life.
There are two poles of this project:
• The Casa Museo Ivan Bruschi, a "place of wonder" where the cultural and aesthetic conception of Bruschi gave the rooms a strong suggestion, even for the value of the collections on display now restored, cataloged and reorganized after a complex study of the Scuola Normale Superiore di Pisa. The House Museum is now open to the public thanks to the efforts of UBI Banca.
• The numismatic exhibition of Ivan Bruschi Foundation. On June 2019 the numanistic corner at the FondazioneIvanBruschi in Arezzo, administrated by UBI Banca, opened to the public on a new and more complete exhibition, on the second floor of Palazzo della Fonte. The exhibition edited by FrancaMariaVanni, has two sections: in the first one there are coins and medals part of the Fondazione’s collection, in the second one there are Italian banknotes part of UBI Banca’s collection. As well as tourists can enjoy the exhibition, experts can visit it on request. In the first section there are 4000 thousand gold, silver, bronze and mixture coins displayed inside special displays, which were part of Ivan Bruschi’s numismatic collection, founder of the Antique Fair of Arezzo one of the most important in Italy. Such exemplars cover an extended chronological timeline, from the Italic pre-coinage (aes rude) to the 20thcentury. There is Italic and Etruscan coinage, some series melted and coined in the Roman republic, some Greek coinage and emissions of magno-greek cities,the Byzantine coinage with gold and bronze and the Italian mediaeval coinage. To complete the collection there are celebrative and devotional medals, coin weights, coins and seals, all from the medieval and modern time. Among these latter, there are some excellent gold exemplars. In the four rooms of the Fondazione Bruschi numanistic exhibition, inside especially made displayers, were it is possible to admire both faces of the banknotes, there are 1458 exemplars, part of the 9000 banknotes owned by UBI Banca. Their disposition follows a chronological path that includes issues made in the several states of the Italian peninsula before the unification. The banknotes issued by the banks before the Banca d’Italia had being established.
THE HOUSE MUSEUM OF IVAN BRUSCHI.
Set in the heart of Arezzo, in front of the Parish of St. Mary, in the fourteenth century Palazzo del Capitano del Popolo, the Casa Museo Ivan Bruschi hosts the eclectic collection of the famous antiquarian.
Formed from the early 60s for purchases of previous collections which progressive and objects available on the antiquities market, the collection now has about ten thousand pieces.
Inside the palace, one of the most important public buildings and representative of the city during the Middle Ages, as evidenced by the many emblems affixed to the facade, runs an exhibition that, while showing the predilections of the collector, however, allows to reconstruct the nuclei of the main collection.
Son of art Ivan Bruschi had met while studying Roberto Longhi and enriched with increasingly specific decided to dedicate his life to the protection, enhancement and to collections of artistic heritage, not only Tuscan or Italian.
This flurry of initiatives, also stemmed from growing up in a family where the passion for antiques and art objects was very strong. His father Peter and his older brother, were merchants of antique furniture. The youngest of six children, Ivan Bruschi was born in Castiglion Fibocchi in 1920, but lived for some years with his family in Florence.
In the early '60s, particularly related to his dwelling youth, he returned to live with his sister Dina in Arezzo, in the old Palazzo del Capitano del Popolo, owned by the family since the beginning of the '900 and the tragic Allied bombing of December 1943 had largely destroyed, and put his hand to the restoration of the building.
The choice to stay in Arezzo in 1967 meant that Bruschi opened his antique shop on the premises of the gallery in Piazza San Francesco, in which each month, still welcomes many stands of selected antique dealers, at the Antiques Fair born to Bruschi will of the same in 1968.
A considerable number of archaeological fragments, sculptural and epigraphic, welcome to those who enter in the House Museum: forms and letters decorate the entrance almost to evoke the words and cordial discussions here entertained by the distinguished landlord and his distinguished guests.
The visit is developed in a series of sixteen rooms, spread over three floors, simple and elegant, perfect in every detail, where the effective preparation museological attention consistently emphasizes that the learned Collector had set up in 1996 in the exposition and balanced harmonious of their collections within the walls of the fourteenth century "Arena".
The collections cover a historical path that starts from twenty-two thousand years before Christ, with the precious “Venus of Arezzo”, prehistoric sculpture, but also from archaeological Egyptian, Etruscan, Inca, pre-Columbian and ancient Rome.
The walls are adorned with engravings, drawings and paintings of circles Papacello, Tintoretto, Guido Reni and still Sassoferrato and Luca Giordano, as well as valuable pieces of furniture dating from the fifteenth century until the nineteenth.
Among the Renaissance polychrome sculptures dominate even armor and weapons at the end of the chisel, precious fabrics, lace, liturgical objects, votive offerings and reliquaries, vestments and robes eighteenth century, not to mention jewelry, cameos, coins, medals and seals, bronzes, ivories, porcelains , glass objects, various silver, ceramics, stamps and even desk clocks, scientific instruments, fossils, important documents, incunabula, cinquecentine located in the Studiolo.
A significant selection of books of essays, art are preserved in the library on the second floor, from where you can access a wide multi-level terrace that crowns the building and allows you to live a "face to face" with the face of the magnificent Romanesque church of Santa Maria, characterized by four horizontal registers of stone columns, decorated by a number of reasons both in stems and in capitals, often of archaeological origin and reused.
To continue to grow this culture beyond its borders biographical Bruschi decided in advance to make public use of their home and collections to be stored, through the creation of a foundation.
In his will he established the public Ivan Bruschi Foundation, naming it the heir of his fortunes, so go on, in different forms, his work. By the same act definitively sealed the covenant of trust and collaboration that lasted all his life with "his Bank", delivering "His foundation" perpetual administration of UBI Banca
In December 1996, Ivan Bruschi closed his eyes on world affairs on the upper floor of the Palazzo del Capitano del Popolo, restored along with the treasures kept in the system and open to the public, thanks to the financial commitment of UBI Banca.
Works of art, antiques, moods still bring the presence of Bruschi in those old rooms that he loved so much and where every month comes from the nearby streets shouting active and lively than its antiques fair.
THE PALACE OF THE CAPTAIN OF THE PEOPLE OR THE BRAND.
Located opposite the famous Romanesque church of S. Mary, in the upper part of the historic city, which houses the most outstanding memories and secular venues of the city authorities, the Palazzo del Capitano probably gets its name from having been the headquarters of the Guelph party of Arezzo and perhaps the Captain of Justice. Already Lodomei house, the building was then owned by Camaiani, the Guelph family who came into possession in the '300. It is also referred to as the Palace of the Mint since, as shown by documents, at the beginning of the fourteenth century became for a time the residence of the Officers of Gabella and than in the fifteenth century the headquarters of Florentine Public Officers.
The origin of the building dates back to the thirteenth century when it was built on an even older building. The history of the Palazzo del Capitano del Popolo is partly told by the coats of arms on the façade of the building. Those still readable depicting the emblems of the city of Arezzo (golden cross on a red field), the family Camaiani (blue background with a gold band across the top and a red rake with three golden lilies in your teeth) and the City of Florence (the lily). This suggests that in 400 the building was previously owned by the city government and perhaps only after 1384, the year of the end of the independence of Arezzo, there was laid the Mint.
Looking at the Palace can be seen clearly evident the wide wound caused by the bombing that, on 2 December 1943, severely affected the historic center of Arezzo: the original part of the building is clearly recognizable from the one rebuilt in the late '60s by Ivan Bruschi, in the context of an intervention that also involved the reconstruction of the most interior of the ancient building.
The beautiful and austere facade of the Palace of regular blocks of stone, places emphasis on the perspective and the play of light that gives it its unique position on the high slope of the Via dei Pileati. The scans neat and clean appearance of the structure determine the architecture of the palace: the four doorways, one of which is very broad, arched ground floor, the linear frame with simple decoration, the five windows of the main floor, repeating the trend openings earthly, before arriving in the small windows located under the wide eaves, whose space is enhanced by an emphasis on the last string course.
The entrance to the palace confirms the impression of severity is typically Tuscan, which in the dim light of the wide entrance becomes harmonious and austere nobility. The high walls, enhanced by a valuable collection and covered with vaults of stone corbels and the volumetric play of the corridor that follows the first entrance atrium, leading to the cloister-style century, revived in the middle of an ancient well and by a loggia with stone columns from magnificent capitals with acanthus leaves. Following the path of prospective ground floor, which is defined in the distance from the light source of the second courtyard there is access to large covered halls at times. Elegant and always characterized by austerity the halls of the first floor where you can admire the well-preserved wooden ceilings and windows of which has an unusual and extraordinary vision of the Romanesque façade of the church. The presence in the different areas of portals, shelves and stone fireplaces reminiscent of the fifteenth-century structure of the building, in which Ivan Bruschi lived until his death.