Oscar Ghiglia, Il Futuro Alle Spalle Hans Holbein Il Giovane E L
Total Page：16
File Type：pdf, Size：1020Kb
Minuti 386 nuovo.qxp_Layout 1 04/07/18 16:58 Pagina 1 n° 386 Oscar Ghiglia, il futuro alle spalle Hans Holbein il Giovane e l’astrazione del reale I cinque secoli di San Biagio Henri Matisse, regista dell’arte Il bianco, un nulla pieno di tutto n° 386 - luglio 2018 © 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 In the Farnese Family Horti On occasion of completion of the restoration of the Uccelliere on the Palatine, for the first time an exhi- bition recounts the history and secrets of the Farnese family’s Horti, one of the most celebrated sites of Re- naissance and Baroque Rome. The exhibition path winds through the sites where there once rose the gardens laid out by Car- dinal Alessandro Farnese in the mid-1500s. It begins with the plan for the geo- metric arrangement of the plantings in Italian formal garden style and continues with the season of the Grand Tour, when the gar- dens acquired that romantic air that so fascinated Goe- The Farnese Uccelliere (Aviaries) after the recent the, ending in the early restoration 20th century, when archa- eological research began. On show at the Uccelliere are two sculptures on loan from the Farnese collection at the National Archaeo- logical Museum of Naples and the two busts of Dacian prisoners which in the 17th century decorated the Nin- feo della Pioggia, designed by the Farneses, where mul- timedia installations recreate the original look of the Horti Farnesiani in im- mersive perspective and bird’s-eye views showing rows of trees, pergolas, and water features. The Madonna of the Rose in Trento Recent restoration work has recovered her splendid Madonna in blu (Madonna of the Rose) original colours, highli- ghting the original azurite 2 and the gold decoration; hence the title of the exhi- bition, Madonna in blu. Una scultura veronese del Trecento, on in Trento from 22 June until 26 Oc- tober. This singular work is displayed as part of the new arrangement of the museum exhibits at the Castello del Buonconsiglio that emphasises both the historic context, which links the work to the sup- pressed monastery of the Augustinian friars of San Marco in Trento, and the iconographic context: the theme of the Madonna of the Rose. The work is one of the very few surviving works of 14th-century Ve- ronese lapidary sculpture. The Madonna is portrayed frontally, enthroned and Jacopo Robusti (Tintoretto): Judith and crowned. One distingui- Holofernes shing characteristic of the work is the nobility of the facial features with their hint of a smile, the same that seems to light the face of the Child. 500 Years for Tintoretto From 7 September 2018 through 6 January 2019, Venice’s Palazzo Ducale is celebrating the 500th anniversary of the birth of Gustave Courbet: Self Portrait with a Black Dog Venetian painter Jacopo Tintoretto, one of the most Wife of Potiphar (1555 Gustave Courbet outstanding exponents of ca.), Judith and Holofernes in Ferrara 16th-century European (1552-1555) and The Rape In the rooms of the Fer- painting, with the exhibi- of Helena (1578-1579), rara’s Palazzo dei Diamanti, tion entitled Tintoretto which is more than three from 22 September 2018 1519 – 1594. About se- metres in length. For the through 6 January 2019, venty paintings by Tinto- occasion, the Kunsthisto- Gustave Courbet returns retto in the Doge’s Apar- risches Museum of Vienna to Italy for the first time tment accompanied by a has lent Susanna and the in fifty years for a retro- core of drawings selected Elders, Tintoretto’s famous spective exhibition presen- with particular reference masterpiece from 1555- ting fifty or so canvases by to the paintings on display. 1556. At the Gallerie del- this 19th-century master Thanks to exceptional loans l’Accademia, a correlated and focussing on his revo- from Italian and European exhibition, Il giovane Tin- lutionary approach to lan- museums, the exhibition toretto, completes this dscape painting. The exhi- includes such large-scale novel panorama on the bition leads visitors through works as Joseph and the great master’s work. the places and subjects of 3 the artist’s representation showing a selection of pie- of the natural world: from ces from the fabulous col- his early panoramas of his lection of more than three native land to his views of thousand works donated the sea, roiling with storms, to this museum by French to sensual nudes in lush antiquarian Louis Carrand greenery and to the hunting in the late 1800s. The Uffizi scenes of his mature period. are showing evidence in Regarded as a master by art of interactions between the Impressionists and ve- East and the West dating nerated by Cézanne, Cour- back to the costumes of bet is an artist who left an the figures in the procession indelible mark on his era in Gentile da Fabriano’s as he ferried French art Adoration of the Magi and from the Romantic dream to portraits of the sultans to painting of reality, and by Cristofano dell’Altis- hence to a renewed love simo. Among the extraor- through the eve of World A room at the Florence exhibition of Islamic art for nature. dinary works on show are War II; it opens with works also several large early 16th- created in the early 1900s Islamic Art century carpets from Egypt by local artists, which show in Florence and superb manuscripts, the ascendency of the Se- From 22 June through 23 including the oldest dated cessionist climate that pre- September 2018, the Uffizi codex (1217) of the Persian vailed in Munich and Galleries and the Museo poet Firdūsī's Book of Vienna at the time. The Nazionale del Bargello are Kings, held by the Biblio- visitor is then introduced host to the grandiose Islam teca Nazionale of Florence. to Italian art in the Twen- a Firenze. Arte e collezio- A varied and fascinating ties and Thirties, charac- nismo dai Medici al No- journey through centuries terised by its recovery of vecento exhibition. As early of cultural exchanges and traditional Italian values as the time of Lorenzo il reciprocal influences. in art, the so-called ‘return Magnifico, who received to order’, with paintings Carlo Carrà: Woman at the Sea a giraffe – an animal never Trieste by Felice Casorati, Carlo before seen in Florence – and Modernity Carrà, Mario Sironi, Guido as a gift from the Sultan of Until 2 September 2018, Cadorin, Giorgio de Chi- Egypt, cultural and trade the Civico Museo Revol- rico, Alberto Savinio and relations with the Islamic tella of Trieste is hosting Felice Carena. Concluding world were for the city a the exhibition entitled Mo- the exhibition is a novel lively, many-faceted reality. naco, Vienna - Trieste - section reserved for the The Medicis, with their Roma. Il primo Novecento Roman Secession, evoked passion for collecting, amas- al Revoltella, which jux- through the paintings of sed a considerable store of taposes works by local ar- several protagonists of that high-quality artistic crafts tists with the museum’s peculiar season which, pieces from the Middle collection of works by Ita- from 1913 to 1916, united East: splendid rugs, metal lian and international ta- numerous artists of diffe- vases featuring exquisite lents. The title refers to rent origins and training polychrome decoration, the influence of Munich in a moderately avant- and glass, ivory and ceramic and Vienna on Trieste in garde but very well-defined items. In the late 19th cen- the years in which the city vision: works by Italian tury, Florence saw the rise was part of the Austro- artists Armando Spadini, of important private col- Hungarian Empire and to Plinio Nomellini, Felice lections thanks to several the exchanges – both du- Carena, Lorenzo Viani great Italian and foreign ring and after that period and Alberto Martini flan- collectors who were likewise – between the artists of the ked by works by artists in enamoured of Islamic art; city and its territory and geographical propinquity, their bequests have consi- Italy. The tour comprises such as Teodoro Wolf- derably enriched the city’s seven sections that cover Ferrari and Virgilio Guidi. museums. The Bargello is an arc from the early 1900s n° 386 - luglio 2018 © 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 Oscar Ghiglia, the Future behind Him The parabola of an artist from his late-Macchiaiolo origins to his discovery of modernity in Paul Cézanne above Natura morta con foglia rossa below Ritratto della moglie Isa [Morandini] ‘In Italy there is nothing; I have been a fate not uncommon among Italian everywhere. There is no painting wor- artists active in the years between the thy of the name, I have been to Venice, two wars, many of whom suffered to the studios. In Italy, there’s Ghiglia. that sort of damnatio memoriae reserved There’s Oscar Ghiglia and no one for intellectuals of success in the Fascist else,’ Amedeo Modigliani shouted, Ventennio, whether or not they actually so clearly and strongly as to leave no had to do with the regime. room for doubt and to merit mention Oscar Ghiglia was born in Livorno in Anselmo Bucci’s Ricordi parigini in 1876 and in his home city he began (1931). Given such an opinion by frequenting the art milieu as a self- one of the masters of the early 20th taught painter; at Guglielmo Micheli’s century, it might seem surprising that studio he met the young pupils of this Ghiglia fell into complete oblivion painter, also a native of Livorno: after his death in 1945, but this was Amedeo Modigliani, Anthony de 2 Witt and Llewellyn Lloyd.