pdf - Fondazione Internazionale Menarini
Transcript
pdf - Fondazione Internazionale Menarini
n° 368 - January 2015 © Tutti i diritti sono riservati Fondazione Internazionale Menarini - è vietata la riproduzione anche parziale dei testi e delle fotografie Direttore Responsabile Lorenzo Gualtieri - Redazione, corrispondenza: «Minuti» Edificio L - Strada 6 - Centro Direzionale Milanofiori I-20089 Rozzano (Milan, Italy) www.fondazione-menarini.it NOTEBOOK Rome Celebrates Emperor Augustus introduced by Augustus to calculation of the months: to the previous method of reporting only the feasts of the gods he added the new festivals in honour of the prince and of the Augustan domus. The form and levels of this change are the reflection and the result of a new way of understanding, conceiving and experiencing the chronological topography of the city, illustrated in works from the museum’s collections and from other Italian and foreign institutes. Nocturnes in Vicenza Augustus as Pontifex Maximus From 16 December to 2 June 2015, under the umbrella of commemoration of the bimillenium of the death of Rome’s first emperor, the Museo Nazionale Romano in Palazzo Massimo presents Rivoluzione Augusto. L’Imperatore che riscrisse il tempo e la città. The museum, which holds works of prime importance centring on Augustus – beginning with the statue representing him as Pontifex Maximus – is also home to the surviving fragments of the Fasti Praenestini. This marble calendar is an occasion to explore calendars and, specifically, the reforms The Tutankhamon – Caravaggio – Van Gogh. La sera e i notturni dagli Egizi al Novecento exhibition, presented through 2 June at the Basilica Palladiana of Vicenza, focuses above all on painting from the 1400s through the 1900s, showcasing selected works which interpret night, the stars and moonlight as profound correlations of the human soul. It begins with 19th-century Naturalism – from Turner and Friedrich through the Impres- sionists – and goes on to Mondrian and Klee at the start of the next century. Night is not only a setting for sacred stories, as in Giorgione and Titian or in Caravaggio and El Greco; it is also a highlycharged spiritual, inner-looking moment, as in certain abstract painters, from Rothko to De Staël. The six sections of the exhibition trace a path starting on the Nile, where night was associated with the otherworld; the subjects of the paintings by the 16thcentury masters, especially the scenes from the life of Christ, are set in evocative nocturnal ambiences. Another space hosts etchings: here, Rembrandt comes up against Piranesi, the former with his celebrated religious subjects, the second with his equally famous Prisons. As curator Marco Goldin notes, the show would ‘testify to the sense of a night which is no longer only the result of a physical and representative vision, but an interior experience, determined by our inner depths, our psychology, dreams and memory’. Painting Food: an Exhibition in Brescia Il cibo nell’arte. Capolavori dei grandi maestri dal Seicento a Warhol, at Palazzo Martinengo of Brescia from 24 January to 14 June. A ‘banquet’ for the public, an opportunity to discover how food has been depicted by artists in various historical periods. With more than 100 works by masters of the past such as Campi, Baschenis, Ceruti, Figino and Recco, and modern and contemporary artists from Magritte to de Chirico, from Fontana to Lichtenstein and Andy Warhol, the exhibition ranges over a time span of more than four centuries. Ten theme sections examine the various iconographies adopted by the artists, with flair and brilliance, for their representations of food. From ‘Allegories of the Five Senses’, different types of food and ‘Markets, Larders and Kitchens’, the show goes on to sumptuously-laid tables, ‘painting’ a panorama of dining customs through the centuries. The ‘Food in 20th Century Art’ section concludes the exhibition. The initiative embraces a series of learning laboratories and theme itineraries for the schools, designed to aid exploration of the most significant aspects and themes of the works on show. Russian Icons in Florence Paul Gauguin: Tahitian Woman Until 1 February, Florence’s Sala delle Reali Poste is the exhibition venue for the Collezione delle icone russe agli Uffizi: on show, 81 icons owned by the Florentine galleries, the oldest collection of Russian sacred images outside of page 2 the Orthodox world. The two very oldest, a Marian icon and another of the Decollation of the Baptist, date to the late 14th – early 15th century. Highly regarded by the Medici, in the late 1500s they figured among the furnishings of the Palazzo Pitti chapel. The nucleus of the collection, made up mostly of icons dating to the first half of the 18th century, came to Florence when the Lorraines ruled: an inscription on the back of the icon depicting the Stories of Christ suggests ties with the Orthodox Church of the Santissima Trinità of Livorno, built in the 18th century during the reign of Francis Stephen. The exhibition is arranged in three sections: the panels depicting Christ, the Mother of God and the saints most venerated by the Orthodox Church. Giacomo Ceruti called Pitocchetto, Two Boys Tapping Wine Modernity According to Boldini The Musei San Domenico of Forlì are paying tribute, from 1 February to 14 June, to one of the most highly-regarded and prolific of the Paris-based Italian artists of the late-19th and early-20th centuries, with the exhibition Boldini. Lo spettacolo della modernità. In his long career, this painter from Ferrara enjoyed extraordinary good fortune – despite arousing what were often heated disagreements among critics and the public. Loved and debated even early on by friends and colleagues such as Telemaco Signorini and Diego Martelli, during the years of his greatest success he was appreciated and adopted by Paris’ most sophisticated circle, that of the Goncourt brothers and Proust. The Forlì exhibition offers an articulated, in-depth vision of Boldini’s multiform creative activity to valorise not only his paintings but also his extraordinary graphic produc- sophisticated, elegant Modigliani et ses amis exhibition recounts one of the most famous artists of the 20th century, tracing Amedeo Modigliani’s career in art, from his training with painter Guglielmo Micheli in Livorno through his Parisian period: from 1906 until his death in 1920, Modigliani lived and worked in the French capital, where he frequented the haunts of artists and men of letters. The exhibition itinerary highlights Modigliani’s relationship with his artistic milieu and his defence of his individuality – and immerses the visitor in a world, that of Montmartre and Montparnasse, which still exerts an unequalled fascination. Modigliani and the Pisan exhibition are extensively discussed in an article published online at the Fondazione Internazionale Menarini website (www.fondazionemenarini. it). At Mart, the Centenary of the Great War Giorgio de Chirico: Composition of Fruit with Classical Statue tion: drawings, watercolours, etchings. The show also proposes an interesting look at Boldrini’s early work in the years from 1864 to 1870, which he spent mainly in Florence in close contact with the Macchiaioli. This phase, with its small paintings (mostly portraits) of superlative quality and originality, is shown in the new light shed by a portion of the cycle of vast murals of Tuscan landscapes and scenes of rural life painted between 1866 and 1868 at Villa Falconiera in Collegigliato, near Pistoia, the residence of the English Falconer family. Together, the small and large works compose a more complete picture of ‘Boldrini Macchaiolo’. Then his first works after moving permanently to Paris: landscapes and smallformat paintings of genre scenes. Finally, a comparison of scenes of modern life in exteriors and interiors in the works of other Italians active in Paris – De Nittis, Corcos, De Tivoli and Zandomenenghi – reveals Boldini as one of the foremost interpreters of the French metropolis in the Belle Époque. Amedeo Modigliani and His Friends At the Fondazione Palazzo Blu of Pisa, until 15 February, the The exhibition entitled La guerra che verrà non è la prima. Grande guerra 1914-2014 is the mainstay of a major project, extending to the Trento/Rovereto museum’s three sites and supported by a full program of collateral events, meetings, conferences and other appointments. 2014 marks the centenary of the start of World War I, the point of departure for a broader enquiry into war in the 20th century and in our day. From Bertolt Brecht’s famous poem ‘The war which is coming / Is not the first one. There were / Other wars before it. / When the last one came to an end / There were conquerors and conquered. Among the conquered / The common people starved. Among the conquerors / The common people starved too’, the narration takes the form page 3 Mario Sironi: Cityscape with Truck Giacomo Balla: The War of a journey through the wars of a century and recent news to demonstrate how all wars are the same and how yet each is different. Avant-garde masterpieces conduct a dialogue with propaganda, documents, reportages, testimonials. Installations, drawings, etchings, photographs, paintings, posters, postcards, letters and diaries stand alongside more recent artistic endeavours: cinematographic narrations, original documents, videos, films. The show presents works by the Futurists – Giacomo Balla, Fortunato Depero, Gino Severini – and by artists who ex- perienced the drama of WWI firsthand, such as Max Beckmann, Marc Chagall, Arturo Martini, Mario Sironi. War is also recounted as a recurring theme in the research of many contemporary artists, including Enrico Baj, Alberto Burri, Alighiero Boetti. Many WWI relics are also on show. Sironi, a Master of the ‘Novecento’ Rome’s Complesso del Vittoriano is presenting a sweeping retrospective dedicated to a master of the 20th century, Mario Sironi. 1885- 1961, open until 8 February. Sironi’s most significant works reconstruct his career in all its complexity, from his Symbolist beginnings to his flirt with Divisionism, from his Futurist period to Metaphysical Painting, from the Novecento Italiano to mural paintings and to the works of the post-WWII period. Sironi was one of the most original Italian painters and one of the most representative of his times. In ninety paintings, from his early works to those of his last days, plus sketches, magazines and an important collection of his correspondence with the cultural world of the Novecento Italiano, the exhibition in- troduces an artist of European stature. At the centre of the Roman show are the studies for his huge murals, such as Il lavoratore (The Labourer, 1936) and L’Impero (The Empire, 1936), because, as curator Elena Pontiggia explains, ‘The ideal of “Grand Decoration” cultivated by Sironi in the Thirties had taken form in his thought much earlier (and well before the Fascist era), as he gazed on the Arch of Titus and the Coliseum, the Basilica of Maxentius and Trajan’s Column, the Pantheon and the Baths of Caracalla and Raphael’s and Michelangelo’s frescoes.’