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