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Manet, Parigi E La Modernità Tra Forma E Astrazione Kandinskij in Viaggio Verso L'arte Del Futuro Parade, Un Giocattolo

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Manet, Parigi E La Modernità Tra Forma E Astrazione Kandinskij in Viaggio Verso L'arte Del Futuro Parade, Un Giocattolo Minuti 380.qxp_Layout 1 17/05/17 11:11 Pagina 1 n° 380 Manet, Parigi e la modernità Tra forma e astrazione Kandinskij in viaggio verso l’arte del futuro Parade, un giocattolo infrangibile La Ronda di notte, il pittore e il suo capolavoro n° 380 - maggio 2017 © Diritti riservati Fondazione Internazionale Menarini - 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 Sassoferrato Comes Home The Immaculate Conception, a masterpiece by Giovan Battista Salvi, known as Sassoferrato (1609-1685), one of the treasures of the thousand-year-old Bene- dictine Abbey of San Pietro in Perugia, was carried off to France during the Na- poleonic era. Now, for the first time, the work is re- turning to the site for which it was painted, on occasion of the Sassoferrato. Dal Lou- vre a San Pietro. La collezione riunita exhibition, from 8 April to 1 October 2017, in that same Benedictine complex. The exhibition reunites all seventeen of the works painted by Salvi for the monastery as well as several paintings by Pietro Perugino, the Umbrian master whose work Salvi studied at length. Also on Giovan Battista Salvi (Sassoferrato): show is Judith with the Head Judith with the Head of Holofernes of Holofernes and the great Annunciation in which the Bellini vention, technique and G. Bellini: classical echoes of a painter and His Followers formal precision. Bellini’s Madonna and Child defined by Adolfo Venturi On occasion of the 500th passage left unequivocal as ‘an exponent of the Quat- anniversary of the death signs, points of reference trocento lost in the 17th of Venetian painter Gio- for numerous painters; century’ are clearly audible. vanni Bellini (1430 ca. - starting from two of the In the formal purity of the 1516), Bellini e i belliniani. Bellini masterpieces on images as in the placid style, Dall’Accademia dei Con- show – Madonna and Salvi’s painting harks to cordi di Rovigo, at Palazzo Child and Christ Carrying the lessons of the Renais- Sarcinelli in Conegliano the Cross – the exhibition sance masters Perugino and until 18 June 2017, ad- proposes a series of com- Raphael, from whom he dresses the relationship parisons with the works more than once borrowed between the master and of other artists, from subjects. The exhibition is his collaborators: how they Palma the Elder to Dosso a sterling opportunity for trained, what roles they Dossi, Titian and Tinto- systematic study of the played in the bottega’s pro- retto, with the aim of un- works on show and of ne- duction, what they learned derscoring Giovanni Bel- ver-before-seen documents – and in turn passed on – lini’s centrality in a scenario that contribute to recon- from their collaboration extending well beyond structing the artist’s creative with a master so great in Venice and the Veneto re- parabola. terms of thought and in- gion. 2 Masterpieces from Madrid in Rome Da Caravaggio a Bernini. Capolavori del Seicento ita- liano nelle Collezioni Reali di Spagna, at the Scuderie del Quirinale from 14 April through 30 July 2017, presents an extra- ordinary selection of pain- tings and sculptures that reflect the closeness of the political and cultural ties Diego Velazquez: Joseph’s Tunic between the Spanish court and the Italian states in Boldini and the Fleeting Moment (1879– the 17th century. Diplo- Fleeting Moment 1891); and The Portrait matic donations from the From 4 March through of the Belle Époque (1892– Italian governors, made 16 July 2017, at the Brasini 1924). to gain favour with the Wing of Rome’s Com- Spanish rulers who begin- plesso del Vittoriano, the A Half-Century ning in the mid-1500s aura of the monographic of Botero were instrumental in sha- exhibition Giovanni Bol- on Show in Rome ping the complex Italian dini is that of a search for Rome’s Complesso del political situation, contri- (a) lost time. In Boldini’s Vittoriano is hosting a tri- buted to enriching the art works, the moment appe- bute to Fernando Botero: collections of the Spanish ars as though crystallised about fifty works repre- royals: this is the case of in colours or rapid pencil sentative of more than a two of the paintings on strokes, recreating atmo- half-century in the artist’s show, Guercino’s Lot and spheres of the Belle Épo- career, from 1958 to the His Daughters and Guido que. One of the leading present. From 5 May Reni’s Conversion of Saul, figures of that period and through 27 August 2017, donated to Philip IV by an precursor of 20th cen- Botero’s painting promises Prince Ludovisi. A great tury modernity, his works to carry visitors off into a number of works of art, exalt feminine beauty and dreamlike, fabled dimen- including the Crucifix by reveal all that was most in- sion populated by men Bernini from monastery timate and mysterious in and animals portrayed in of San Lorenzo de El Esco- the noble ladies of the era rial, were commissioned – for Boldini, ‘fragile icons’. or purchased on the king’s Alongside works well behalf; such masters as known to the public such Neapolitan painter Luca as his Portrait of Giuseppe Giordano, who was active Verdi Sitting and portrayals in Spain for a decade, were of the women of high so- invited to work for the ciety, now the symbols of court. In exchange, we an era, are his city scenes, might say, several Spanish nudes, and women at their artists worked in Italy: José toilettes. Step by step, the de Ribera came to Rome exhibition reconstructs in 1606 and spent most the master’s career, in four of his career in Naples; sections: The New Light one of Velázquez’s greatest of the Macchia (1864– masterpieces, Joseph’s Tu- 1870); The Maison Goupil, nic, was painted by the Midway between Fashion master in Italy, in 1629- and Impressionism (1871 1630. −1878); The Pursuit of the Giovanni Boldini: Alaide Banti on a Bench 3 brilliant colours and with dal Futurismo alla Pop Art, in the Thirties and con- the exuberance of line and now on in Milan (from tinues with works produ- form that have made the 13 April to 17 September ced in the Fifties and Six- highly individual stylistic 2017 at the Museo del ties by Italian artists who signature and the unmi- Novecento and the Gal- took the city as their sub- stakeable language of the lerie d’Italia, presents works ject (Fontana, Afro, Tur- artist (of Colombian origin) by Italian artists who, be- cato, Consagra and Scia- world famous. ginning in the 1930s, en- loja, among others) before tertained direct relations concluding with works, Miró: from Majorca with the United States, by Mimmo Rotella, Emi- to Bologna shining light on how cer- lio Isgrò and Arnaldo Po- From 11 April until 17 tain Italian artists, by ta- modoro, inspired by the September 2017, Bolo- king part in important figure of JFK: reflections gna’s Palazzo Albergati is U.S. events, contributed of their rapport with a new the venue for the mono- to the gradual internatio- image of the U.S. The sec- graphic exhibition Joan nalisation of the world of tion hosted by the Gallerie Miró. Sogno e colore with art. The Museo del No- d’Italia instead spotlights its more than 100 oil pain- vecento reconstructs the the interest in Italian art Fernando Botero: La First Lady tings and myriad drawings, Italian artists’ relationship shown by major U.S. mu- lithographs, photographs, with the city of New York, seums and galleries, star- writings and projects. All beginning with works ting from a review of the works of Miró’s mature painted by Fortunato De- Twentieth Century Italian period, created in the pero and Giorgio De Chi- Art exhibition held in 1960s and ‘70s when the rico during their stays there 1949 at MoMA. artist was definitively set- tled in Majorca (1956) af- ter having lived in Paris and Barcelona, where he was born in 1893. Miró experimented with nume- rous techniques and gen- res, from etching to pain- ting on glass and on tar paper, from sculpture to ceramics and to theatre sets. In Majorca, Miró laid Mimmo Rotella: Viva America the bases for the founda- tion that bears his name, inaugurated in 1981 to flank the foundation he had created in Barcelona in 1972. Italian Artists in the New York Limelight The exhibition New York New York. La riscoperta Joan Miró: Untitled dell’America: Arte Italiana © Successió Miró – photo Joan Ramón Bonet & David Bonet n° 380 - maggio 2017 © Diritti riservati Fondazione Internazionale Menarini - 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 Manet, Paris and Modernity Against the backdrop of a rapi- dly-transforming city, the picto- rial revolution of an artist ‘too far ahead of his time’ The Fife Player - Paris, Musée d’Orsay © René-Gabriel Ojéda / RMN-Réunion des Musées Nationaux/ distr. Alinari Bullfight - Paris, Musée d’Orsay © René-Gabriel Ojéda / RMN-Réunion des Musées Nationaux/ distr. Alinari The second half of the 19th century: the face and to commit to representing the spirit of of Paris was changing; in the hands of Emperor the time. Edouard Manet was his worthy Napoleon III and Prefect Georges-Eugène friend: ‘the man who wanted nothing more Haussmann, it was redesigned as a monu- than to see Paris’, the most Parisian of painters.
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