Albrecht Durer Between Germany-Italy

From 2 February 1 to June 24, 2018 at Palazzo Reale in Milan will host an exhibition of that artist: Durer, which was also: engraver, mathematician and historian of treatises on during the German Renaissance under the “charm” of Antonello da Messina . For the first time in Milan will be shown many of his masterpieces such as: engravings and drawings that have never been represented here before , F or a total of 1 3 0 accompagn works that we were not into paintings full of mystery “eranno slipped” into the detail. Among these masterpieces will be represented above all the engravings, not to be considered at an amateur level but ver e e propri e artistic productions (which in the past were rarely thought of and as such).

But not only his paintings will be appreciated along the way but also those of: Lucas Cranach , Albrecht Altdorfer , Hans Baldung   added to other artists from northern Italy such as: Giorgione , Andrea Mantegna , Leonardo da Vinci and Lorenzo Lotto . A Renaissance, in short, unpublished that with the “nuance” of the engravings will accompany us in a historical and “educational” path to study at a distance of centuries in a new perspective that shows us beyond the borders of time and through a different experience from the current one. For those wishing to spend a Sunday, in short, in the name of art, it will be ideal.In seeing all this narrated through drawing, it will be possible to bring back at the end a good knowledge of the Renaissance style of excellence that, surely, we will not be able to forget with time, but that we will be able to appreciate also in the 21st century .

Excellent stylistic “cipher” of an artist who has lived two different geographies: the Italian one and the German one; with regard to the painter’s hand, it will be easy to identify assonance between the two countries that we will be able to discover only in the careful collection of works such as those exhibited at Palazzo Reale. A surprise will be to seize them with the help of the guides to read during the visit in these four months. But there is more: the exhibition was also set up to “narrate” the parable of the German Renaissance during its maximum splendor , during the most fertile period, therefore, which left ample space toEurope between the end of the fifteenth century and the beginning of the sixteenth century. The total works will be 130 and will “head” also to the graphics, sector touched by the artist in addition to that of painting and engraving.

Essential is then its character of innovation that has been generated with the relations between Italy and Germany . The pictorial reinterpretation is curated by Bernard Aikema, istory professor of modern art at s ll ‘universities Verona and under the collaboration of Andrew John Martin. It will also deal with the theme of classicism. And among the works will also be exhibited: “The Adoration of the Magi”, “Jesus among the doctors”, “The Madonna of the monkey” and other m and no notes, for a complete panorama made of a 360 ° exhibition.

The times will be :

On Mondays from 14.30 to 19.30

The other days (excluding Thursday) from 9.30-19.30

Only on Saturdays from 9.30 to 22.30.

The p rices of tickets range from: 10-12 € (as they will be 12 for a full ticket and 10 for one reduced ).

Guided tours will be organized for a total of 8 € per person with reservation website milanoguida.com, which, however, will be added € 13 for full price. Tickets can be purchased open ” through: Ticket24ore.it , with which you can access the exhibition on any day, avoiding queues . (The maximum you can use until the following day and the purchase until June 15 next year) to € 16 + € 2 commission for a total of 18 €. We therefore give you all the “Welcome” to the Royal Palace to discover an esthete of the Renaissance and a revelator of the intercultural exchange between Germany, Italy and the whole of Europe.

Family’s Week End

Non sarà certo un week end facile quello vissuto in Via Botta 18, alla Stecca degli spogliatoi, ogni giorno in orario diverso, ma sicuramente un periodo da vivere insieme alla natura che potrà definirsi gratificante. Si apre infatti, dal 7 aprile al 13 maggio 2018 l’evento intitolato: “Primavera ai Bagni Misteriosi” di Milano (ex piscina Caimi). Potremmo stilare un calendario degli eventi più rappresentativi di quest’occasione. E cominciamo con:

  • Sabato 14 aprile, sempre nello stesso spazio e sempre alle 00, solo per 45 minuti, si parlerà di “far sfogare” 15 bambini, con: i cosiddetti “acquarelli con le verdure”, che utilizzando ortaggi di stagione e trucchi di magia, potranno generare, appunto, acquarelli multicromatici con queste materie prime dell’orto. I prezzi sono: 7€ per il laboratorio e 15 per laboratorio e ingresso per un max di 15 bambini della sola età di 4 anni.
  • Il 15 Aprile, sempre nello stesso luogo e sempre dalle 00 e per 90 minuti si partirà da una cassetta degli uccellini da ricostruire con scatola del latte o del succo di frutta associata a colori, pennelli e molta fantasia, dopo effettuata la quale si potrà realizzare una contenitore per piccoli volatili di primavera.
  • Domenica 21 Aprile, sempre in stessa località, con lo stesso orario e la tempistica di 60 minuti, ma per 25 bambini, in collaborazione con la Kikolle Lab si potranno conoscere due esponenti della cultura dei nostri giorni: Alfonsina Strada, la prima donna ciclista che verrà presentata ad un massimo di 25 bambini, che leggendo la sua storia, costruiranno la loro Per i piccoli più “ribelli” si verrà a contatto, invece con Muhammad Alì, letta la storia del quale, essi costruiranno un burattino con le sue sembianze. Il prezzo è lo stesso: per laboratorio 7€, e per ingresso e laboratorio 15. Ammessi 25 bambini.
  • Il 22 Aprile, nello stesso luogo, dalle 11.00 per 90 minuti si darà spazio alla Macchina fotografica, che si potrà costruire partendo da materiali riciclabili, spingendo ogni bambino a realizzare il suo tipo preferito di apparecchio e permettendogli di stimolare la creatività. Il Laboratorio è ad opera della Kikolle Lab, per un massimo di 25 bimbi che vadano dai 4 ai 10 anni.
  • Il 28 aprile, sempre in Via Botta 18, alla Stecca degli spogliatoi nei Bagni Misteriosi, dalle 00 per 60 minuti si affronterà il tema del circo, dall’imput del quale si partirà a realizzare: foulard, anelli, piattini cinesi, ecc…dopo la cui costruzione molti bambini potranno testarsi come giocolieri ed equilibristi e provare l’ebrezza dello spettacolo circense. Le tariffe sono le stesse ed il tutto sarà in collaborazione con Rapanello Entertainment.
  • Il 29 aprile, nello stesso luogo, questa volta sempre alle 00 ma per 90 minuti, ai bambini si darà la possibilità di manipolare un Didò colorato generando una baby sculpture con formine e mattarelli, pasta di sale morbida ma colorata con ingredienti naturali, per i piccoli dai 2 ai 6 anni.
  • Per il 5 maggio: ci sarà un “Remake” del 21 aprile, ma solo in onore di Cassius Clay e questa volta saranno ammessi soltanto bambini di 4 anni.
  • Per il 6 maggio si procederà, per 45 minuti, alla stessa ora e negli stessi posti, alla ricostruzione di un “balcone fiorito”, per il quale potrete con i vostri piccoli, ricostruire uno spazio sul vostro terrazzo eccezionalmente favorito dalla primavera. Tutto ciò In collaborazione con Vango anch’io, per soli bambini di 4 anni e agli stessi prezzi sopraindicati: 15€ per laboratorio e ingresso e soli 7 per il laboratorio. Per un massimo di 15 bambini.
  • Il 12 maggio (sempre negli stessi luoghi) ci si potrà dedicare alla creatività in cucina, per tutti i piccoli di 4 anni, per 45 minuti alle 00. Con ortaggi e farina si impasteranno ravioli colorati generando un ripieno personalizzato. Lo stesso il prezzo: 7€ per laboratorio e 15 per ingresso e laboratorio in collaborazione con Vango anch’io.

Il numero telefonico con il quale prenotare sarà: 02 89731800, oppure tramite l’e mail: lab@bagnimisteriosi.com

Titian and The ‘500 in Brescia

The great artist and all the other artists and painters of this century are “conveyed” in a single exhibition held in Brescia at the Museo di S. Giulia, from 21 March to 1 July 2018. Above all by Titian, we can say that not least there is a really interesting work of the author of the Italian five hundred:   THE MADONNA WITH THE CHILD, S. CATHERINE, S. DOMENICO E   THE DONOR of the Magnani Rocca foundation; it is the largest and most ambitious.   A few works by Titian communicate a similar bonheur de vivre , the same morning freshness and the warm red of the Virgin’s dress makes the ardor of those who beg her appear more intense. In painting such a canvas, Titian had to have Rome in mind, as shown by the twist of the Madonna’s body and the perspective from below.

These could be inspired by the Prophets and the Sibyls painted by Michelangelo in the Sistine Chapel that the Venetian artist had never seen but had certainly heard of. Painted with loving care, the women depicted are so full of life and character that the most famous of the female portraits of these years is FLORA; the woman was interpreted as a goddess of spring, flowers and fertility, as a famous courtesan of the ancient world or as the allegory of marriage. In essence, however, it is a model posing and it is impossible not to get excited in the presence of an invitation so open to sharing and the daily life of the study   of the painter. The expression of the woman is submissive and friendly, while the statuesque calm with which she carries the flowers and collects the folds of the cloak   shows his willingness to keep the pose for a certain period of time. The velvety surface of the skin is one of the most daring challenges launched by Tiziano to both ancient and modern sculpture. The writer Pietro Aretino, a friend and supporter of Titian, described the tones of the incarnate of his portraits, like snow streaked with vermilion and Flora like a marble bust immersed in the lymph of color. The same female model reappears in SALOMÉ WITH THE HEAD OF ST. JOHN THE BAPTIST in which Tiziano consciously comes back to Giorgione’s art in the greater softness of light and colors and in the contrast between red and green that played a fundamental role in MADONNA DI CASTELFRANCO . Instigated by her mother that John the Baptist had accused of having contracted an incestuous marriage with an erode, Salome asked for his head as a reward for having danced at the king’s birthday. The cupid hiding behind the arch refers to an old tradition according to which Salome had an unrequited passion for his victim, as shown by the lock of hair on the young woman’s cheek and the saint’s curls that fall from the tray onto his arm.
The first portrait of Charles V has not come down to us, but it is a great success. The canvas   THE BEAUTIFUL exhibited at the Palatine Gallery   and probably completed during the same period of   PORTRAIT OF THE DUCA OF URBINO, has the charm of a rose that never goes out of fashion. The model is the same as the VENERE DI URBINO and lends itself equally to an allegorical interpretation. He holds a rosary in his hand, symbol of devotion and indicates what might be a fur stole placed on the   his right arm. Until it is restored, the painting will remain difficult to read. The year before 1558, the Crucifixion of Titian had been exhibited in the Church of S. Domenico in Ancona. The painting had been commissioned by the Corsovi family, who had recently moved to Ancona from V and Nezia. The simple placement of the three figures in the foreground invites us to share their suffering and makes this canvas one of the first masterpieces of the art of the Counter-Reformation, whose priorities were narrative clarity and emotic empathy . Among the glows of a light   from Apocalypse we are already in the world of the Crucifixion painted by Tintoretto for the Scuola di S. Rocco in the mid-sixties. The Virgin and Saints are arranged in a semicircle like the head of an anchor at the base of a cross. On the left, the Virgin agitates in a solitary sorrow, while in the center S.Domenico with exaggeratedly long fingers, she grabs the base of the cross to gain strength. Christ flooded with light is already beyond their reach. Tiziano obtains this effect by painting it smaller than the others and thus creating a sense of distance and separation. Even the blood, painted with extreme precision that runs along the arms and from the ribs bathing the thong, is in accordance with taste and   to the dictates of the Counter-Reformation.
These and others still the paintings of Titian who have entranced us . , but such were   Most   touching and the most characteristic that have just “taken your breath away”; these are the characteristic traits of a painter who has been able to return something truly extraordinary to the whole of Italy in the sixteenth century, and which today in Rome has made us go back for almost six centuries.

The exhibition also speaks of other artists such as: Girolamo Romanino, Moretto and Giovan Girolamo Savoldo , to set Andrea Palladio as “bias”. It is about retracing the great path made by the painter to painting, precisely, Brescia. He curates the exhibition: Francesco Frangi, who has selected about 50 masterpieces, extracts from the Pinacoteca di Brera, the Poldi Pezzoli Museum, and the Civic Art Collections of the Castello Sforzesco in Milan: a hymn to the Milanese by Titian and others who “imitated” “During much of the 16th century. But also: the Capitoline Museums in Rome, the Palatine Gallery of Palazzo Pitti in Florence, the Carrara Academy in Bergamo, the Palazzo Bianco and Palazzo Rosso Museum in Genoa, the Gallerie dell’Accademia in Venice, the Ala Ponzone Art Gallery in Cremona, the Sabauda Gallery in Turin, the Prado Museum in Madrid, the Liechtenstein Museum, The Princely Collection and the Kunsthistorisches Museum in Vienna, the Museum of Fine Arts in Budapest, the Pushkin Museum in Moscow, the National Gallery in Washington . Following is the opportunity to “glimpse” the exhibition, with an autoguide curated by Silvana Editoriale.

Committee   Scientific   Alessandro Ballarin,   University of Padua,   Andrea Bayer,   Metropolitan Museum , New York,   Stefania Buganza,   Catholic University of Sacred Heart,   Matteo Ceriana,   Palatina Gallery,   Keith Christiansen ,   Metropolitan Museum , New York,   Roberto Contini,   StaatlicheMuseen , Gemäldegalerie , Berlin,   Francesca Del Torre,   Gemäldegalerie , Kunsthistorisches Museum , Vienna,   Vincent Delieuvin ,   Musée duLouvre,   Miguel Falomir Faus ,   Museo del Prado,   Giorgio Fossaluzza ,   University of Verona,   Vincenzo Gheroldi ,   Superintendence Archeology, Fine Arts and Landscape for the provinces of Bergamo and Brescia,   Sergio Guarino,   Capitoline Picture Gallery,   Angelo Loda,   Superintendence Archeology, Fine Arts and Landscape for the provinces of Bergamo and Brescia,   Paola Marini,   Academy Galleries,   Mauro Natale,   University of Geneva,   Alessandro Nova,   Kunshistorisches Institut , Florence,   Maria Cristina Rodeschini ,   Accademia Carrara,   Marco Tanzi,   University of Salento,   Matthias Wivel ,   National Gallery, London .

Timetables                            From March 21st to June 15th

Tuesday – Wednesday – Friday – Saturday – Sunday  from h. 9.00 am to 8.00 pm

Thursday from h. 9.00 am to h. 22.00

From June 16th to July 1st

Tuesday – Wednesday – Friday – Saturday – Sunday from h. 10.30 am to 9.00 pm

Thursday from h. 10.30 am to h. 22.00

The ticket office closes an hour earlier

CUP (Unique Booking Center)

0302977833 – 834; santagiulia@bresciamusei.com

 

Outfit ‘900 in Palazzo Morando

Until November 4, 2018, starting from December 19, 2017, there will be a fantastic exhibition on fashion clothing of the ‘900 italian or . The event opens on the fantastic setting of Palazzo Morando in Milan , respecting the Costume Fashion Image dedicated to the woman of the twentieth century, a century that promised a lot to the feminine styles of “dress”. Promoted by the Department of Culture , will leave a glimpse of a “cut” of clothes never seen before, and will allow you to explore the exhibitions of costume and fashion of the Museum.Great opportunity to test the “eyes of the viewer” on models of clothes not yet exhibited, but united by the fact that in the last century were worn on special occasions.

These will be: evening dresses, prom dresses, court dresses (especially in the early years), “great lunch”, and of course wedding dresses . As already happened in the past exhibition: Embroidery of light . Sequins and sequins in the fashion of Palazzo Morando 1770-2004, will be exposed to the theme ” fashion ‘900″ that will cross a century, already “explored” and a speech already started in 2016 on the customs of the ‘ 900 . But there will be a surprise: the dress by Glenn Close , by Giorgio Armani , will be exhibited , worn during the 1994 Oscars ceremony .Furthermore, it should be added that the idea of ​​the exhibition was born to give an account of a project that has seen “give light” to the comparison of ancient and modern clothes, to put it in a nutshell: to relate the fashion of today with that of the time.

Another particularity will consist in the fact that much of the clothing heritage comes from free and liberal donations of “any” citizens. They have shown that they also want to share their memories by exposing their clothes. Most are part of them is from Milan, and they wanted to make it clear how interesting it could be to outline the “ranks” of a story from the 1900s and early 2000s. It has given rise to exhibitions of dresses with embroideries of pailletes , held in ‘”Closet” by many people of a certain age or posterity and descendants of these same exponents of citizenship who have thought, of course, not to get rid of, but to “put in common” with the Museum their past, in fact.

In this way it has been possible to highlight and make “over time” the importance of some Houses that would otherwise have been forgotten forever and would thus be ended in oblivion . We read many stories behind these clothes, that is, they revisited: special occasions, which, with the passing of the years, have passed to daughters or grandchildren. Then, Grazietta Butazzi has begun the “tradition” of accompanying them also photos of many of these women in the 1900s .We get an excerpt of life from the past near us a century that perhaps, (indeed, certainly) will amaze and make pleasantly surprised at the same time, to leave a truly special and unforgettable memory of that clothing that has “talked” to visitors, (and also to each of them) of that era and of those stories.

In addition, some donors were asked to tell their stories and their anecdotes, related to their family on those occasions when they wore the clothes shown. Thus, from the beginning of the century to the end of the First World War, it was possible to erase much of the style of the Belle Epoque to live more dynamically both during the conflict and soon thereafter. Even the revisiting of wedding dresses is fantastic and hits the mark especially after the Second World War this time, where the day of “yes” becomes the most important and as such is also experienced by the public, we would say. In the Exhibition Program we assist and find ourselves seeing various “projects”, divided by categories . The first category contains the dress from dance ; the 2nd: the wedding dress ; category 5 the dress of the afternoon ; 12 evening dress , and so on … Continuing a truly unique and very interesting journey of a “cursus” of experiences not to be forgotten.If you want to be guests of Morando you can, in short, enjoy all this with effective participation.

With “Revolution” at The Fabbrica del Vapore in Milan

The exhibition: Revolution ends on April 4th opened in Milan December 2, 2017 at the Steam Factory in Via Cesare Procaccini 4, it consents to us and to relive the period of the late 60’s up to the legendary 70. You go to revisit the stories, the characters and the objects of that short space of time that changed Italian and world culture. In fact, they are, as well, the ripercors the events that from 1966 to 1970 with testimonies of every kind changed the lives of all of us and not only of that generation. They are represented in 500 ” steps ” (between images, design, film and songs) the social and cultural climate that even with the most famous rock group the Beatles, they managed to outline a ‘time of crisis with historical songs; will continue with Martin Luther King and his battles, obvious to mind with the newsdocuments (such as photos and video material) that attester year the essential journey undertaken in a period of great “of the” revolution in social customs.

The whole environment is filled with high atmosphere which will trace the Music with the help of sophisticated technology that offer autoguiders Sennheiser (now a frontrunner in the electronics sound). The cultural encounter with this environment will take place through an itinerary that will revive the changes of those years, with signs and symbols of fashion, music, and the locals of the time; (you will not even avoid “talking” about drugs). But not only: they will be focused Human Rights and street protests, consumerism, various festivals, (certainly not forgetting: that of Woodstock) and alternative communities. You can be “reported” in the climate ofCarnaby Street in London and that of the Hippies of Haight- A s h bury , of the technological innovation of the Bay Area , of the protests of the French May, of the Isle of Wight and of the arrival of the municipalities that occupied much of America .

The exhibition is curated by Victoria Broackers and Geoffrey Marsh of the Victoria and Albert Museum in London together with Fran Tomasi , ( the first Italian promoter to lead Pink Floyd in Italy ), Clara Tosi Pamphili (fashion journalist and writer), and Alberto Tonti (music critic). This path was designed to wrap the visitor in the environments of that short decade , made to give him certainly atmospheres, objects, memorabilia, art, graphics and especially music of that era, years that perhaps were interminable thanks to those changes that went to pervade a decade of crisis, and a strong climate of rebellion towards the paradigms of the economic boom that had “opened” society, previously, to the bourgeoisie and the upper class. Recalling then that the ’70s go to clash against prejudices and icons of beauty now obsolete, who, until April 4 will want to relive the climate and want to abandon this culture can do so by going to the Fabbrica del Vapore in Milan , in particular :

the Monday : 15:00 to 20:00,

Thursday : 10am to 10pm

Tuesday, Wednesday, Friday, Saturday and Sunday : 10: 00-20: 00

Please note that the full ticket is € 16 (pre-sale € 2 ),

Reduced : 14 € (always with pre-sale of € 2 ).

Children from 6 to 13 years: € 10 .

Free   minors of 6 years, one chaperon for each group, two chaperones for each school group, one accompanying person with a disability who needs them, journalists accredited by the Press Office of the Exhibition.

ABOUT
www.mostrarevolution.it

 

Question of “Words”: The Book Fair in Milan

From 8th to 12th March 2018 , “Tempo di libri “, the publishing fair in Milan will take “body”, and for this time, it will “change skin”, as it will be held on an earlier date than last year. But the organizers “aim higher” on this occasion, given that they had not aligned as well before the Turin Book Fair ; therefore, at present they would like to increase the past turnout of 73 thousand visitors in 2017.

News for the book fair

Another novelty of “Tempo di libri” 2018, (produced by the book Factory), is in the location, which this time will be in a new location: in the old Fiera di Milano , or central: Fieramilanocity , at Portello. Another change: the Fair will “host” another director: Andrea Kerbaker , famous manager, but also university professor, writer and founder of Kasa dei Libri (Largo Aldo De Benedetti 4, Milan) , who has created a large space dedicated to books, in the neighborhood that now enjoys a renewed “life”, that is: Isola.

The director will replace the previous Chiara Valerio and will inherit “Time of books”, now eagerly awaited review of the world of reading. Just Kerbaker has been made official at the assembly of the Italian Association of Publishers , and also together with the appointment of the new president of the same, namely:Ricardo Franco Levi. “We will be able to have everyone with joy a wonderful event in Turin, a beautiful in Milan and many others in Bari, Palermo, throughout Italy . One can not be seen to compete with each other,” says Levi.

Last year, the Fair had reached these “numbers”: to start with, it had involved 552 publishers , according to the characters, stories, testimonies and items were then distributed 720 events with 2 thousand guests . Thus, the House of Books, among many adventures (lasting 5 days), had seen 60 participate 796 people in Fiera- Rho , and for another 100 out of the Fuori Fiera offices , 12 others were counted 133 , and to conclude, many attendance had participated in the review that had also guaranteed 1 million views held in streaming.

For these reasons we have even chosen a date that goes away from that of the Turin Motor Show (in order to contrast it more). Meanwhile, we remind you that the Turin Book Fair will be held from 10 to 14 May 2018 . But we wanted to “oppose” this event also at the Salone del Mobile (Milan ) or the Miart . The guide of Kerbaker will hopefully interest even more public, allowing us to glimpse an alternative to the Turin Book Fair, using: authors, different proposals, including even the smallest. This is the intention of the new Book Fair currently hosted in Milan: so come on, numerous! It will really be worth it.

Tintoretto in Venice

For an exceptional setting, that is: Palazzo Ducale, Venice, from September 2018 to January 2019, will host the most famous works of the painter: Tintoretto, but the exhibition will also interest the G allerie of the Academy: most of his paintings , will include the whole artistic process of the painter , in honor of the 500th anniversary of the birth of Tintoretto (one of the most important artistic figures of all time and Italian extraction, for more ) . It will start with the works of its beginnings, to get to the beginnings of the last creative phase.

A “reimagined” city for a fairytale artist

To celebrate Jacopo Tintoretto, the city of Venice Civic Museums of the same, the National Gallery of Art in Washington, the Gallerie dell’Accademia, the Scuola Grande di San Rocco, the Patriarchal Curia of Venice, the Ministry of Heritage and Activities cultural and tourism and the Superintendency for Artistic and Historical Heritage of Venice, will create, ad hoc for Tintoretto, a creative and magnificent space, able to cover the place of a real celebration in Italian style to remember one of the greatest exponents of the 16th century culture and painting. The presentation took place at the end of 2017 at Ca ‘Farsetti, under the watchful eye of the mayor, Luigi Brugnaro , of the president and director of the Civic Museums Foundation of Venice, Mariacristina Gribaudi and Gabriella Belli, of the curator Frederick Ilchman , of the exhibition manager National Gallery of Art Washington Dodge Thompson, of the director of the Gallerie dell’Accademia di Venezia Paola Marini, of the Guardian Grando of the Scuola Grande of San Rocco FrancoPosocco , and of the Superintendent of Fine Arts and Landscape for Venice and Lagoon, Emanuela Carpani .

Meanwhile, it can be said that, there will be two places affected by the works of the great painter. To begin with, the beginning of his “artistic phase” will be hosted by the Gallerie dell’Accademia, and the final part, from Palazzo Ducale, always intense and fantastic as a background. In February, the same exhibition will be held by the National Gallery of Art in Washington, also holding a special role, as it will represent the first time Tintoretto in North America. ” We are proud to realize an exhibition with extraordinary works together with the people who love Venice and with the collaboration of multiple institutions – declared the first citizen. This project is the sign that the city has changed pace. The exhibition will in fact be realized with the resources we have already saved, thanks to an economic soundness obtained with a careful efficiency . The idea of ​​collaborating with the National Gallery is a matter of particular pride. In addition to telling Tintoretto in America, this exhibition will show what Italy is “.

“Venice – added Gribaudi – continues, through its works of art, to speak to the world and to create continuous relationships because we are convinced that art is a great instrument of peace”. The exhibition, therefore, has the intent to present with due care and attention, a magnificent Venetian painter for the history of the art of Veneto and of Italy in general . In addition we must add that the (research) project was followed by numerous and famous world art historians. And some have also left interesting statements, such as that of: Belli who has supported: ” ” It was since 1937 that the city did not host a major exhibition dedicated to the painter, for this reason – said Belli – we proposed the idea to a great international museum like the National Gallery of Art in Washington, which lives on cultural promotion and has no entrance fee ” . Taking up again the “ranks” of the same exhibition of the artist at the Museo del Prado, other op erations have been added , including more than 70 paintings and a rare “nucleus” of drawings that characterize all of his creative process.

As for the exhibition at the Academy, the major works of his youth will be highlighted, called the ” funambulist experimenter “, (not to mention the classic: “Miracle of the slave”, which “will fill” our eyes) . The review of his paintings will even allow the restoration of 15 paintings that will allow us to admire the true original colors. “An occasion of extraordinary importance for conservative purposes”, underlined the Superintendent Carpani . All this will certainly not prevent us from rediscovering the more or less characteristic sides of the great painter’s art and will leave the sides of the whole artistic path uncovered, which allowed and allowed the great XVIth century to “take advantage” of his happy hand (with which embellished palaces and churches everywhere in the Veneto). Also important are the introductions of faces and “collateral” events that designed the whole 1500 (and above all Venetian). But he was also essential in architecture, history, music and textiles, because many in these fields were inspired by him. This event will also be able to: spread with its art, educational projects for children. This is what we will offer, if we want, from September, Venice to every tourist in the world.

Roberto Bolle in Bologna and Rome from February 2018

For the fourth consecutive time on 27 February 2018 the dancer ( Etoile de la Scala) will be at the EuropAuditorium Theater of Bologna with his show oram to the tested: “R. Bolle and Friens “, a gala of” excellences “of the show, which will be interpreter and artistic director at the same time. So, in Piazza Costituzione 4, from 15 to 19, at the Teatro Celebrazioni in Via Saragozza 234, from Monday to Saturday the ticket office will open, through the circuit : Vivaticket-charta , will give the opportunity to all dance fans and tersicoreuti to enjoy a fascinating and spectacular representation. But as a vehicle to participate in the event, there will also be: the listening points of the IperCoop and the circuit: Ticketone.

Bologna, in particular, has always been very attentive to the dance of the artist, and also remembers that it was the first hub of its Fan club. The name of great guests is still full of mystery and the entity of the program that will open on the Auditorium, but certainly full of as many “tall ” exponents of the art of every kind , to end up offering a “dance” evening in the company of the most prestigious names. The Platea will cost  115 , the II Platea 80 , the balcony 65 , and the II Balcony:  52 . But it did not end here, because the great international dancer, will also give tribute to the Capital , in Caracalla, in July (18) of the same year.

We also add that Caracalla is not new to the appointment with Bolle, because already in 2011 had come to the same place, a large audience and very diversified, with the intent to assist and remain “bewitched” by the skill of the  principal  dancer “of the American Ballet Theater of New York , as well as, (we remember ) The dancer of the Scala of Milan . The beauty and grace of its choreographers and the charm of its statuesque body embellish the place already full of natural beauty (which, with its magnificence will be able to involve a group of spectators varied and vast ) . This will give the ancient Baths a clear and excellent sign of originality and will give back to the place the fairytale of its “foundations” that has always and for centuries created a frame to say the least generous and beautiful for any person you linger for even 5 minutes.

The skill of Bolle, (which we could appreciate even at the beginning of the year, January 1 last year on TV) will fascinate more people, we are convinced, and will leave even to tourists in the city of Rome who will be stationed nearby in that period, a memory of the national and international dance that can “take with them” for a very long time, we are sure. The world-famous dancer, plays a big role in the world and leads many fans not only dance, but many arts that with this go to meet, especially in this show. In fact, the paraphrased: “Pavarotti and friends” (the  Roberto Bolle and friends  therefore), will trace interesting and unlikely parts to many other artists of the world that “gravitate” around the dance that will only be the cue to tell a horizon boundless in beauty, just like the one that characterizes the body and art of Bolle himself. In Rome, for Caracalla, sales began last December 17th , and range from  25 to 120, for a 15% pre-sale . Accede then who loves all or the show, and in particular Italian or!

When Glenn Brown Has Come To Milan

10 June 2007 the British artist Glenn Brown exhibited in Milano at the “Triennale Bovisa”.  The artist, inspired by popular tradition, has given life to an art that will transcend conventions. Its Mannerist drivecame “to fill” all the works in view of a new life form, defying time limits. Driven by the work of others, he made his various paintings. It is for this reason and for his great notoriety that we have put some of them questions that we will communicate.

How did you come up with the idea of ​​transforming paintings by other artists?

I do not like starting with a blank canvas and I love dialogue with other artists, living or dead. I feel like an eternal student, who always studies art in detail. I learn and constantly and I see my expectations of what makes something beautiful .

Did the accusation of plagiarism hurt you?

I have always been very clear on the fact that my work uses elements derived from other artists. Their art becomes the subject of my work, a subject that I comment, modify and adapt to tell my story. Other artists that   they take possession of them   – Sherrie Levine, Richard Prince, Sigmar Polke, Gerhard Richter- have had a great influence on me. I almost always tell the truth

He has exhibited all over the world, at such a young age; which audience was the most welcoming?

My job involves many complex references to art history that is at the same time r culture it in. It is always gratifying to know people with a vast knowledge of art history and who appreciate the playful connections I create. Yet I love conversing with those who feel the emotional charge of a painting and who do not need, or want to know, the references .

Did you study at a young age, do you think our artists are better than studying and specializing at this age?

Yes. I loved being an art student.

How do you consider the judgment on his work by Michael Brace which states: “In his paintings, he is less concerned with the historical-artistic state of the works he appropriates, than with their ability to serve his purpose, namely his age: explosion of truth and painting “?

I do not think I’ve ever disagreed with anything Michael said. An epic exploration of painting and a painting is exactly what I want to do. I do not want to take art history too seriously. Misunderstandings can lead to glorious creative moments. Good art, bad art, high art or less – what matters most is the emotional impact .

Do you find that current art history is going through a difficult period?

No, the more I observe and appreciate the art of the whole world, and the more I understand that the canon of Western art is not the only significant of culture. Art history is now becoming much more complex and difficult to read and judge, but it is even better because of its complexity and confusion .

How do you judge urban graffiti in 2000?

I have seen many funny, stimulating and very beautiful graffiti. But there are also many that are irritating .

He also worked a lot on sculpture. Do you consider painting or the latter as simpler as an art form?

I tend to combine and confuse them

It was also inspired by Rembrandt and Urs Graf: what brings you to these inspirations?

The Renaissance in Italy was not the only thing that was happening. Even more to the north things were going to be very interesting. Probably not beautiful in the conventional way of Italian masters, but their strange darkness can be very attractive .

Which artists did you prefer?

I have always looked at many artists. How do you choose one. Even when I’m working on a work inspired by Fragonard , I’m still thinking of ten other artists at the same time.

These are the answers to the various questions of Glenn Brown and we feel a great spirit and great truth in these words.

 

 

 

The Madonna of Tarquinia and Moments of the “Other Renaissance” in Rome for Filippo Lippi

In Rome, at Palazzo Barberini, some paintings by Filippo Lippi are on display. It all began with the reproduction of the telegram of the discovery of the Madonna of Tarquinia, which took place on April 10, 1917, by Pietro Toesca , marking a new “epoch” for the history of twentieth century art. Together we find and also show the report of the discovery of April 12 of the same year. In addition, the reply of Corrado Ricci to the telegram of Giuseppe Cultrera (20/4/1917) and the authentic photo of the painting, taken on May 2, 1917. Let’s see then, the frame found 6 years later, 17/7/1923 . Thus, Professor Pietro Toesca a victory was credited for the history of world art. The probable commissioner of the Madonna of Tarquinia was Giovanni Vitelleschi ; later Pietro Toesca recognized it in a panel assigned by them to Filippo Lippi. Around the Madonna are recognizable, in the hall of Palazzo Barberini , many paintings of the painter who express his artistic journey in the Renaissance.

From these works we derive the importance that Maestro Masaccio had with regard to Filippo Lippi, in addition to his relationship with Donatello and the following Flemish painting, (of which Lippi was an eminent “witness”). His style is elegant and the sensual color; in particular, it is noted : “The annunciation withdonors “ that best expresses the mature season of the fifteenth century Fiorentino. In fact, we remember that Lippi was born in Florence in 1406 and died in Spoleto in 1469. He entered very young in the Florentine Convent of Carmine where, under the shadow of the Brancacci Chapel, under the guidance of Masaccio and Masolino (1424-1425), his pictorial training. His work, considered most significant, is: “The Frescos of the Cathedral of Prato “ (1452-65). He founded a Bottega in which Sandro Botticelli and his son were formed: Filippino Lippi. On his private life he also wrote the English poet: Robert Browning .

Instead, Giovanni Vitelleschi (Tarquinia 1395, Rome 1440) who worked under the Pontificates of M Artino V and Eugenio IV, was the mediator of the return from the exile of Cosimo the Elder, fell into disgrace and was arrested treason and taken prisoner at Castel Sant’Angelo. Still remember that Pietro Toesca (1877-1962) was a celebrated exponent of twentieth century art history and one of the best scholars of the Middle Ages. He worked at the Soprintendenza di Torino and at the Accademia di Brera and in Milan; he taught at the Universities of: Turin, Florence and Rome. He also “explored” the painting and art of the ‘400 and the Renaissance. Among his students are Antonio Gramsci, Roberto Longhi, Giulio Carlo Argan and Federico Zeri. You get to enjoy at least 4 paintings of Lippi at Palazzo Barberini , starting with : “The Annunciation with donatori “, where the radical change of style of the artist is expressed with respect to his first works. The architected frame is slightly asymmetric and the construction of the space deviates from Brunelleschi’s perspective rules.

The painting comes from the surroundings of Florence, where it was bought at the end of the 19th century, but the identity of the donors is unknown (however, certainly: Florentines). Following an “Annunciation” dated 1435 in the diptych, and its perspective box, inside which are: the Virgin and Gabriel, insert the painting in the true tradition of Masaccio and in the frescoes of the Brancacci Chapel at the Carmine in Florence. Moreover, continuing the visit, we find: the “Madonna with the Child and donor with the saints Giovanni Battista or Ansano and Giorgio” which is a painting of various elements, including the Sienese painting, that of Donatello and Gentile da Fabriano. In the representations of the donor (where the face prevails in his profile), the imprint of Masaccio r itrattista is traced . Then follows the picture: “The Madonna with the Child, seven angels and saints Alberto from Trapani, Michele Arcangelo and Bartolomeo “. The table, originally a tricuspide, is certainly linked to the Carmelites, (as evidenced by the presence of a saint of that order, on the left).

The face of the Archangel and the whole compositional system are very mas- sive . Not least, but certainly the most important: “The Madonna of Tarquinia” (1437), which, compared to his early works portrays a relationship with Donatello, in the foreshortening “insisti t o ” and in the energetic movement of the Child, from which emerges a powerful dynamic element. The spatiality and the domestic setting of the scene, makes this painting a painting of mediation closely linked to the Flemish experiences. The frame, (with small additions of restoration) is original. With the painting “S. Paul “ we note a movement of the abrupt rotation of the head of the saint, underlined by the movement of the beard, in which we still note an energetic dynamism expressed through the asymmetrical position of the apostle . In the severe face, in the shadows and in the clean cut of the folds of the drapery, the “pure style without ornament” emerges or even in the sculptures of Donatello. This exhibition is recommended to “fans” of Renaissance art, but also to users of current not purely contemporane and to see not, even in the ancient passage to the classical painting in general. It is worthwhile to become spectators of Lippi’s poetics because it narrates a period that goes from the ‘400 to the study that this century did in painting , the “novecentisti”, period of art, perhaps among the most profitable and generous.