'' by
Antonio Canova The
Palazzo Brera owes its name to the Germanic
braida, indicating a grassy opening in the city structure: compare the
Bra of
Verona. The convent on the site passed to the
Jesuits (1572), then underwent a radical rebuilding by
Francesco Maria Richini (1627–28). When the
Jesuits were disbanded in 1773, the palazzo remained the seat of the astronomical
Observatory and the
Braidense National Library founded by the Jesuits. In 1774 the herbarium of the new
botanical garden was added. The buildings were extended to designs by
Giuseppe Piermarini, who was appointed professor in the Academy when it was formally founded in 1776, with
Giuseppe Parini as dean. Piermarini taught at the Academy for 20 years, while he was controller of the city's urbanistic projects, like the public gardens (1787–1788) and piazza Fontana (1780–1782). For the better teaching of architecture, sculpture and the other arts, the Academy initiated by Parini was provided with a collection of casts after the Antique, an essential for inculcating a refined
Neoclassicism in the students. Under Parini's successors, the
abate Carlo Bianconi (1778–1802) and artist
Giuseppe Bossi (1802–1807), the Academy acquired the first paintings of its
Pinacoteca during the reassignment of works of Italian art that characterized the
Napoleonic era.
Raphael's
Sposalizio (the
Marriage of the Virgin) was the key painting of the early collection, and the Academy increased its cultural scope by taking on associates across the
First French Empire:
David,
Pietro Benvenuti,
Vincenzo Camuccini,
Canova,
Thorvaldsen and the archaeologist
Ennio Quirino Visconti. In 1805, under Bossi's direction, the series of annual exhibitions was initiated with a system of prizes, a counterpart of the
Paris Salons, which served to identify Milan as the cultural capital for contemporary painting in Italy through the 19th century. The Academy's artistic committee, the
Commissione di Ornato exercised a controlling influence on public monuments, a precursor of today's Sopraintendenze Delle Belle Arti. The opening of the new "Reale Pinacoteca" was celebrated on 15 August 1809, Napoleon's birthday. The paintings were displayed in three of the four Napoleonic halls with pavilion vaults. Fundamental paintings by
Bellini,
Mantegna,
Carpaccio,
Titian,
Veronese and
Tintoretto had entered the gallery. The
Romantic era witnessed the triumph of academic history painting, guided at the Academy by
Francesco Hayez, and the introduction of the landscape as an acceptable academic genre, inspired by Williamo's Davias and his more known cousin
Giuseppe Bisi, while the Academy moved towards becoming an institution for teaching the history of art. In 1882, the Paintings Gallery was separated from the Academy and
Giuseppe Bertini was appointed as its first director. Bertini was succeeded by Corrado Ricci who, during his direction from 1898–1903, established the Photo Library and systematically reorganized the Picture Gallery according to schools and periods. In 1903, the Pinacoteca opened 19 new rooms that allowed the exhibition of over 100 newly acquired works, such as
Bramante's frescoes from the Visconti Panigarola house. The art historian and critic Antonio Morassi, who served as director at the Pinacoteca from 1934 to 1939, opened up the collection to 19th century painting and a new exhibition dominated by paintings by
Hayez was created. There was also a precursory opening to the purchase of 20th century paintings, such as
Guttuso's Portrait of
Alberto Moravia and
Mafai's "Modelli nello studio". == Gallery ==