Alesso Baldovinetti - painter

One of first to paint realistic landscapes

A self-portrait of Alesso Baldovinetti from a fragment of
damaged fresco, now in the Accademia Carrara in Bergamo

The early Renaissance painter Alesso Baldovinetti, whose great fresco of the Annunciation in the cloister of the Basilica of the Santissima Annunziata in Florence is still intact, was born on this day in 1425 in Florence.

Baldovinetti was among a group described as scientific realists and naturalists in art which included Andrea del Castagno, Paolo Uccello and Domenico Veneziano. Influenced by Uccello’s use of visual perspective, he had a particular eye for detail and his views of the Arno river in his Nativity and Madonna are regarded as among Europe’s earliest paintings of accurately reproduced landscapes.

Veneziano’s influence is reflected in the pervasive light of his earliest surviving works, and he was also greatly influenced by Fra Angelico. Historians believe that in the 1460s Baldovinetti was the finest painter in Florence, although some argue that he did not fulfil all his initial promise.

Born into the family of a wealthy Florentine merchant, Baldovinetti rejected the chance to follow his father’s trade in favour of art.

Baldovinetti's Nativity in the Basilica of Santissimi Annunziata
in Florence with the Arno river in the background

In 1448, he became a member of the Accademia di San Luca in Rome. It is thought that he assisted with decorations in the church of Sant’ Egidio in Trastevere, with Veneziano and del Castagno, with whom he later collaborated on the frescoes in the Santa Maria Nuova in Florence.

Apart from his frescoes in the Annunziata basilica in Florence, other surviving works include those done for the chapel decorations in the Basilica of San Miniato al Monte, also in his home city.  It is regrettable that he did not help some of his work by using a mixture of yolk of egg and liquid varnish - his own invention - to protect his paintings from damp, but which in the event caused them to deteriorate more quickly.

Baldovinetti worked on several pieces for the church of Santa Trinita, where he painted an altarpiece of the Virgin Mary and child with the saints Gualberto and Benedetto, which is now in the Academy of Florence.

Baldovinetti's Annunziation

During this period, Baldovinetti also gained a reputation as one of the best mosaic workers of the day, earning praise for his restoration of the mosaics at the San Miniato.

Two of his works are in the Uffizi Gallery, including an Annunciation and Madonna and Child with Saints. The National Gallery in London has a Portrait of a Lady in Yellow that for centuries was wrongly attributed to Piero della Francesca, while there is a Madonna and Child in the Louvre in Paris.

Among Baldovinetti’s own pupils was Domenico Ghirlandaio, who went on to become a major figure in the so-called "third generation" of the Florentine Renaissance, a contemporary of Verrocchio and Sandro Botticelli.

Baldovinetti died in August 1499 at the age of 73 and was buried in the Basilica of San Lorenzo.

The facade of the Basilica della Santissima Annunziata
in the San Marco district of Florence

Travel tip:

The Basilica della Santissima Annunziata is in the Piazza della Santissima Annunziata in the San Marco district of Florence. The church was founded in 1250 and rebuilt by Michelozzo between 1444 and 1481. Frescoes by Andrea del Sarto can be seen in the atrium of the church. Newly wed couples traditionally visit the church to present a bouquet of flowers to a painting of the Virgin by a 13th century monk, where they pray for a long and fruitful marriage.

The church of Santa Trinita, where Balodovinetti
worked on a number of pieces

Travel tip:

The church of Santa Trinita, which overlooks the square of the same name, can easily be reached by walking down the elegant Via de' Tornabuoni towards the Arno. Standing near the Santa Trinita bridge, it was founded in the middle of the 11th century. Originally built in a simple Romanesque style, it was later was enlarged and restored following Gothic lines. The church’s Sassetti Chapel contains 15th-century frescoes by Domenico Ghirlandaio.

More reading:

The humble friar who became one of the greatest artists of the 15th century

Why the talent of Sandro Botticelli was forgotten for four centuries

How Piero della Francesca applied geometry and maths to his work

Also on this day:

1628: The death of painter Palma Giovane

1963: The birth of singer Alessandro Safina


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Piero Dusio - sportsman and entrepreneur

His Cisitalia company revolutionised automobile design

The Cisitalia 202 set new standards in sports car design
that changed the way automobiles looked

The footballer, racing driver and businessman Piero Dusio was born on this day in 1899 in Scurzolengo, a village in the hills above Asti, in Piedmont.

Dusio made his fortune in textiles but it is for his postwar venture into car production that he is most remembered. Dusio’s Cisitalia firm survived for less than 20 years before going bankrupt in the mid-1960s but in its short life produced a revolutionary car - the Cisitalia 202 - that was a gamechanger for the whole automobile industry.

Dusio played football for the Turin club Juventus, joining the club at 17 years old, and was there for seven years before a knee injury forced him to retire at the age of only 24, having made 15 appearances for the senior team, four of them in Serie A matches.

Piero Dusio was a former footballer
who made his fortune in textiles

He kept his connection with the club and from 1942 to 1948 was Juventus president. In the short term, though, he was forced to find a new career. He took a job with a Swiss-backed textile firm in Turin as a salesman. He took to the job immediately and made an instant impression on his new employers, selling more fabric in his first week than his predecessor had in a year.  Within a short time he had been placed in charge of sales for the whole of Italy.

In 1926, at the age of 27, Dusio opened his own textile company, producing Italy's first oil cloth.

By the 1930s he had a portfolio of business interests that included banking, tennis racket manufacture and racing bicycles. In the textile business he branched out into uniforms and casual clothing. He made his fortune after landing a contract with Mussolini to supply military uniforms for the Italian army. Demand for his waterproof canvas products also soared.

His personal wealth enabled him to indulge his passion for motor racing. He bought himself a Maserati and regularly raced. He finished sixth in the Italian Grand Prix of 1937 and won his class in the Mille Miglia in 1937 driving a 500cc SIATA Sport.

In 1938 he finished third overall in the Mille Miglia and won the Stelvio hillclimb. War then intervened but once it had finished Dusio was eager to resume his career in the cockpit.

The Cisitalia D46 was the first car to be produced
by Piero Dusio's new company

Yet Italy’s economy was on the floor at that stage with most of its industry destroyed. Dusio realised that it might be unrealistic to expect the expensive sport of motor racing to pick up exactly where it left off.

With that in mind, he created his new company - the Consorzio Industriale Sportivo Italia, Cisitalia for short - with a plan to produce a single-seater racing car cheap enough to tempt the amateur.  He commissioned the Fiat engineer, Dante Giacosa, famous for the Fiat 500 Topolino to design it and soon the Cisitalia D46 was born.

Dusio's dream of a one-model series featuring only the D46 came to nothing, but the car scored multiple successes, particularly in the hands of drivers as talented as the brilliant Tazio Nuvolari, winner of 24 Grands Prix in the pre-Formula One era.

He overstretched himself somewhat with his next project, paying a fortune to extract the legendary German engineer Ferdinando Porsche - a Nazi party member - from a French prison. Porsche’s innovative but complex mid-engined Cisitalia 360 was a triumph of engineering but ultimately proved too expensive for Dusio to support.

Battista 'Pinin' Farina is said to have made
his reputation with his work on the 202

Yet Dusio was not done.  In 1945, he took on another Fiat man, their young head of aviation, Giovanni Savonuzzi, with the idea of building a two-seater commercial coupé based on the D46.  Their project was taken up by Battista ‘Pinin’ Farina, who came up with the Cisitalia 202 Coupé.

The car was not a commercial success. It was priced higher than rival cars from Jaguar and Porsche that offered better performance. In the end, fewer than 200 were built.

Yet its design - the one that made Farina’s reputation, although it closely followed Savonuzzi’s preliminary sketches - is credited with changing the way cars look, setting an entirely new standard - a template for the way sports cars look even today.

Whereas road cars traditionally had been a collection of elements - cabin, hood, grill, fenders, headlights etc - with no real thought for aerodynamics, at least until the late 1930s, the Cisitalia 202 was a single unit. The headlights and the grill were perfectly aligned elements of the hood, the wheels were entirely inside the body, removing the need for separate fenders, and the cabin tapered in a smooth line to the rear.

Savonuzzi had applied to his sketches all he had learned about airflow in his aviation work and Farina had put his ideas into practice. The result was a beautiful design that was likened to a sculpture.  When the Museum of Modern Art in New York became the first museum to exhibit automobiles as examples of functional design, the 202 was the first vehicle to enter their collection.

For all that, Dusio could not sell enough cars to rescue his ailing company and the only way he could continue his career was to accept an offer of support from the government of Argentina to set up in car production in Buenos Aires, where he would remain until his death in 1975 at the age of 76.

Cisitalia continued to be run by his son, Carlo Dusio, but was made bankrupt in 1965.

The cathedral in Asti dates back to the 11th century

Travel tip:

The village of Scurzolengo is just over 15km (9 miles) northeast of Asti, a city of just over 75,000 inhabitants about 55 km (34 miles) east of Turin. The city enjoyed many years of prosperity in the 13th century when it occupied a strategic position on trade routes between Turin, Milan, and Genoa. The area between the centre and the cathedral is rich in medieval palaces and merchants’ houses, the owners of which would often compete with their neighbours to build the tallest towers. Asti was once known as the City of 100 Towers, although in fact there were 120, of which a number remain, including the Torre Comentina, the octagonal Torre de Regibus and Torre Troyana.

The strikingly modern Museo Nazionale dell' Automobile
is a major tourist attraction in Turin

Travel tip:

With a long history in motor vehicle design and manufacturing - Fiat, Lancia, Iveco, Pininfarina, Bertone, Giugiaro, Ghia and Cisitalia were all founded in the city - it is hardly surprising that Turin is home to Italy’s most important automobile museum, the Museo Nazionale dell’Automobile (also known as MAUTO).  Opened in 1960 and dedicated to Giovanni Agnelli, founder of FIAT, the museum’s building and permanent exhibition were completely renovated in 2011. The MAUTO, in  Corso Unità d'Italia, is today one of Turin’s most popular tourist attractions.

More reading:

Was Tazio Nuvolari the greatest driver of them all?

The 'smallest brother' who became a giant of the car industry

The brilliance of engineer Vittorio Jano

Also on this day:

54AD: The suspicious death of the emperor Claudius

1815: The execution of Napoleon's military strategist Joachim Murat


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Gillo Pontecorvo - film director

Most famous film was banned in France

Gillo Pontecorvo was a journalist before being inspired
to make a career as a film director

The film director Gillo Pontecorvo, whose best known film, La battaglia di Algeri (The Battle of Algiers) won the Golden Lion at the Venice Film Festival in 1966 and was nominated for three Academy Awards, died on this day in 2006 in Rome, aged 86.

A former journalist who had been an Italian Resistance volunteer and a member of the Italian Communist Party, Pontecorvo had been in declining health for some years, although he continued to make documentary films and commercials until shortly before his death.

Although it was made a decade or so after the peak years of the movement, La battaglia di Algeri is in the tradition of Italian neorealism, with newsreel style footage and mainly non-professional actors.

Pontecorvo also won acclaim for his 1960 film Kapò, set in a Second World War concentration camp, and Burn! (1969) - titled Queimada in Italy - which was about the creation of a so-called banana republic on the fictitious Caribbean island of Queimada, starring Marlon Brando and loosely based on the failed slave revolution in Guadeloupe.

A poster for the US release of the
film La battaglia di algeri

Kapò, which was also was nominated for an Oscar, won a Italian National Syndicate of Film Journalists Silver Ribbon award for Didi Perego as best supporting actress, and the Mar del Plata Film Festival award for Susan Strasberg for best actress.

La battaglia di Algeri, which focussed on the Algerian War of Independence against the occupying French, caused great controversy in France, where it was banned for five years after the government objected to its sympathetic treatment of the Algerian rebels. Its co-star and joint producer, Saadi Yacef, was one of the leaders of the Algerian Liberation Front.

Pontecorvo was born in November 1919, in Pisa, into a high-achieving family. His father, Massimo, owned three textile factories employing more than 1,000 people. His eldest brother among seven siblings, Guido, later became an eminent geneticist, his second brother, Paolo, an engineer who worked on radar during the Second World War II and his third brother, Bruno, a renowned nuclear physicist.

Gillo enrolled at the University of Pisa to study chemistry but dropped out, taking the decision when Mussolini’s race laws came into force in 1938 to follow Bruno in fleeing to Paris, where he found work as a journalist.

When the German Army closed in on Paris, in June 1940, Pontecorvo and Bruno, along with their cousin Emilio Sereni, their friend, the future Nobel Prize-winning microbiologist Salvador Luria, and Pontecorvo’s future wife, Henrietta, fled the city on bicycles.

Marlon Brando played the lead character
in Pontecorvo's film Burn!

Pontecorvo reached St Tropez, where he earned money by drawing on his talent as a tennis player, providing lessons for rich residents.

By 1941, he had secretly joined the Italian Communist Party, and began to make regular trips to Italy to help organize anti-Fascist partisans.  Going by the pseudonym Barnaba, he spent the summer of 1943 working for his party’s underground newspaper, L'Unità, in Milan. From there he moved to Turin, where he began to organise factory workers.

After the war, he returned to Paris as the representative of Italy in the Youth World Federation and the Communist-backed World Federation of Democratic Youth.  Although his political philosophy remained Marxist, he broke his ties with the Communist party in 1956 after the Soviet intervention to suppress the Hungarian Revolution.

By then, his career as a filmmaker was established.  Although for many years an enthusiast for the cinema, it was after seeing Roberto Rossellini’s film, Paisà, that he gave up journalism and, using his own money and a 16mm camera, began to shoot political documentaries.

In 1957 he directed his first full-length film, La grande strada azzurra (The Wide Blue Road), which explored the life of a fisherman and his family facing hard times on a small island off the Dalmatian coast of Italy. The film won a prize at the Karlovy Vary International Film Festival.

Pontecorvo was director of
the Venice Film Festival 

Pontecorvo’s output was relatively small, largely because he spent months and sometimes years in research as he sought to produce authentic portrayals of events.

His last full-length feature film was Ogro (1979), which was inspired by the car bomb murder by ETA terrorists of Carrerro Blanco, the prime minister of Spain under Franco in 1973.  The film brought Pontecorvo his second David di Donatello award for Best Director, which he had also won for Burn! (Queimada).

Director of the Venice Film Festival from 1992 to 1994, Pontecorvo was married twice. His second wife, Teresa Ricci, bore him three sons - Ludovico, Marco and Simone.  Marco Pontecorvo followed his father’s footstep and became a filmmaker.

The Campo dei Miracoli in Pisa, with the baptistery in the
foreground and the Leaning Tower beyond the cathedral

Travel tip:

Pisa used to be one of Italy’s major maritime powers, rivalling Genoa and Venice, until silt deposits from the Arno river gradually changed the landscape and ultimately cut the city off from the sea in the 15th century. Nowadays, almost 15km (9 miles) inland, it is a university city renowned for its art and architectural treasures with a 10.5km (7 miles) circuit of 12th century walls. The Campo dei Miracoli, formerly known as Piazza del Duomo, located at the northwestern end of the city, contains the cathedral (Duomo), baptistery and famously the tilting campanile known as the Leaning Tower of Pisa, all built in black and white marble between the 11th and 14th centuries.

Giorgio Vasari's Palazzo della Carovana used to be the
headquarters of a Medici military order

Travel tip:

In the centre of Pisa, the elegant Piazza dei Cavalieri is dominated by Palazzo della Carovana, built and lavishly decorated by Giorgio Vasari between 1562 and 1564. Originally the headquarters of the Knights of St. Stephen, a Roman Catholic dynastic military order founded in 1561 by Cosimo I de' Medici, first Grand Duke of Tuscany, it is now the main building of the Scuola Normale Superiore di Pisa, one of three universities in Pisa, the others being the University of Pisa and the Scuola Superiore Sant’Anna.

More reading:

How Roberto Rossellini changed Italian cinema

Francesco Rosi - master of neorealism

The brilliance of Oscar-winner Vittorio de Sica

Also on this day:

1492: The death of Renaissance painter Piero della Francesca

1935: The birth of tenor Luciano Pavarotti


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Anita Cerquetti – soprano

Performer with a powerful voice had brief moment in the spotlight

Anita Cerquetti commuted between Naples and Rome
to perform on alternate nights

Anita Cerquetti, the singer whose remarkable voice received widespread praise when she stood in for a temperamental Maria Callas in Rome, died on this day in 2014 in Perugia.

Cerquetti had been singing the title role in Vincenzo Bellini’s Norma at Teatro San Carlo in Naples in 1958 when Callas, who had been singing the same part in Rome, walked out after the first act on the opening night.

Despite Callas claiming that her voice was troubling her, the incident, in front of Italian President Giovanni Gronchi, created a major scandal.

Fortunately the performances in Rome and Naples were on alternate days and so for several weeks Cerquetti travelled back and forth between the two opera houses, which were 225km (140 miles) apart. The achievement left her exhausted and three years later she retired from singing and her magnificent voice was heard no more.

Cerquetti was born in Montecosaro near Macerata in the Marche. She studied the violin, but after a music professor heard her singing at a wedding she was persuaded to switch to vocal studies. After just one year she made her debut singing Aida in Spoleto in 1951.

A publicity shot of Anita Cerquetti
taken in the 1950s

She sang all over Italy and made her debut at La Scala in 1958 as Abigaille in Nabucco. She also sang on RAI in a variety of roles.  She had sung in the United States at the Lyric Opera of Chicago in 1955, as Amelia in Un ballo in maschera opposite Jussi Björling, under Tullio Serafin, but returned infrequently.

When she replaced Callas at the Rome Opera House, it meant she had to commute between the two cities for several weeks. It was thought the effort affected her health because shortly afterwards she started withdrawing from stage appearances until she retired completely in 1961 at just 30 years of age.

Cerquetti was due to have made her debut at the Royal Opera House in London in the title role of Aida in July 1958, but withdrew following an appendectomy the month before and was replaced by Leontyne Price, so she was never heard at Covent Garden.

Her final appearance was in a concert in Amsterdam in 1961.

She made two recordings for Decca, including a complete version of Amilcare Ponchielli’s La Gioconda with Mario Del Monaco, and many of her live performances were recorded and have now been issued on CD.

Cerquetti was married to the baritone Edo Feretti with whom she had one daughter. After her retirement she went to live in Rome. Her husband predeceased her and the soprano died in Perugia from cardiovascular disease at the age of 83.

The hilltop town of Montecosaro in Marche

Travel tip:

Montecosaro, where Anita Cerquetti was born in 1931, is a hilltop town in Marche, about 35km (22 miles) southeast of Ancona and about 15km (9 miles)east of Macerata. Just outside the town is the Abbazia di Santa Maria a Pie’ di Chienti, also known as the Santissima Annunziata. Documents refer to an abbey being there in 936 but the Romanesque stone building that can be seen on the site today was built in 1125.

The Teatro San Carlo is close to the centre of
Naples, near Piazza Plebiscito

Travel tip:

Teatro di San Carlo in Naples, where Cerquetti was singing when she got the call asking her to replace Callas, is in Via San Carlo close to Piazza Plebiscito, the main square in Naples. The theatre was designed by Giovanni Antonio Medrano for the Bourbon King of Naples, Charles I, and opened in 1737, some 41 years before La Scala and 55 years before La Fenice. San Carlo is now believed to be one of the oldest, if not the oldest, remaining opera houses in the world. Both Gaetano Donizetti and Gioachino Rossini served as artistic directors at San Carlo and the world premieres of Donizetti’s Lucia di Lammermoor and Rossini’s Mosè were performed there.

More reading:

The mezzo-soprano at the centre of an on-stage spat with Maria Callas

The short but eventful career of Norma composer Vincenzo Bellini

When fire engulfed the Teatro San Carlo

Also on this day:

1815: The birth of controversial Prince Pierre-Napoleon Bonaparte

1896: The birth of Neapolitan songwriter Cesare Andrea Bixio


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